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THE    IRISH   AND 
THE    HIGHLAND    HARPS 


WIRE       STRUNG      IRISH      HARP 


MANUFACTURED      BY     J    EGAN     OF    DUBLIN     FOR     THE     BELFAST     IRISH     HARP      SOCIETY 


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MUSICAL 
INSTRUMENTS 


BY 


ROBERT   BRUCE  ARMSTRONG 


AUTHOR   OF   'THE    HISTORY   OF   LIDDESDALE,'    ETC. 


THE    IRISH    AND 


THE    HIGHLAND    HARPS 


'  t  >  *> 


"Mute!   mute  the  Harp!    and  lost  the'inagit.  aH'' '/> 
Wliich  roused  to  rapture  each  Milesian  heart  ! 
In  cold  and  rust  the  lifeless  strings  deca}', 
And  all  their  soul  of  sons;  has  died  awav." 


EDINBURGH:    DAVID    DOUGLAS 

1904 


IMPRESSION 
One  hundred  and  eiyhty  Copies. 


No.      A^-' 


(yCccq 


'H- 


«  t  c    •     • 


TO    THE   MEMORY    OF   THE   PATRIOTIC    IRISHMEN   WHO 

ENDEAVOURED    TO    PRESERVE    THE    NATIONAL    INSTRUMENT 

BY    ESTABLISHING    AND    SUPPORTING   TWO 

IRISH    HARP    SOCIETIES    AT   BELFAST 

THIS    VOLUME    IS    DEDICATED 


PREFACE 

\ 

It  was  the  writer's  intention  that  the  chapters  relating  to  the  Irish, 
Highland,  and  Welsh  Harps  should  form  the  concluding  portion  of  this 
work,  but  as  the  two  first-mentioned  instruments  are  of  primary 
importance,  it  has  been  decided  to  issue  the  chapters  relating  to  them 
separately,  and  those  treating  of  the  English  Guitar,  Harp-Guitar, 
Guitare-Harpe,  Apollo-Lyre,  Harp-Lute-Guitar,  Harp-Lute,  Harp-Lyre, 
British-Lute -Harp,  Dital-Harp,  Harp- Ventura,  and  Royal  Portable  Irish 
Harp  as  a  second  part,  each  part  being  complete  in  itself  and  separately 
indexed.  The  writer  had  hoped  to  include  the  Triple  Welsh  Harp, 
but  the  letters  addressed  to  those  who  were  supposed  to  be  able  to  give 
information  regarding  the  tuning  of  the  instrument  have  remained 
unanswered  ;  and  as  he  has  not  considered  it  desirable  to  reprint  the 
vague  and  unsatisfactory  statements  that  are  already  before  the  public, 
the  instrument  is  unnoticed.  It  is  to  be  hoped  that  some  person  who 
thoroughly  understands  the  Triple  Welsh  Harp  will  put  on  record 
the  method  of  tuning  any  one  of  these  instruments,'  that  is,  the  tuning 
of  the  outer  and  centre  rows  for  each  major  and  minor  key,  and  such 
information  as  to  fingering  as  may  enable  the  possessor  of  one  of  these 
instruments  to  tune  and  play  upon  it.  To  Edward  Bunting  we  are 
indebted  for  such  information  as  we  have  as  to  the  tuning  of  the  Irish 
Harp  with  thirty  strings,  but  when  that  Harp  is  furnished  with  more  than 
thirty  strings  we  have  no  definite  knowledge  as  to  the  tuning  of  the 
additional  strings.  For  instance,  we  do  not  know  for  certain  whether 
they  all  belong  to  the  treble  or  should  be  divided  between  the  treble 
and  the  bass,  and,  if  so,  in  what  proportion  they  should  be  divided  ;  or  to 
make  it  still  plainer,  we  do  not  know  the  exact  position  of  the  thirty 
strings,  as  to  the  tuning  of  which  we  have  certain  knowledge  from 
Bunting,  upon  a  Harp  which  has  a  greater  number  of  strings.    The  harpers 

'  The  arrangement  of  the  strings  in  the  bass       keynote  string  upon  diflFerent  instruments  would 
upon    specimens  has  been  found  to  vary,  so  the       presumably  vary  also. 


viii  MUSICAL    INSTRUMENTS 

who  Instructed  Bunting,  and  even  those  of  a  ranch  later  period,  could 
have  given  the  required  information.  They  must  also  have  known  the 
number  of  steel  strings  that  should  be  upon  the  Harp,  and  whether 
there  should  be  two  thick  steel  strings  or  only  one  between  the  thin 
steel  strings  and  the  brass  strings.  Now  unfortunately  there  is,  at  least 
so  far  as  the  writer  is  aware,  no  person  alive  who  is  able  to  state 
positively  what  we  so  much  wish  to  know.  When  this  is  so,  may  we  not 
hope  that  some  person  will  do  even  more  for  the  Triple  Welsh  Harp, 
while  it  is  still  in  use,  than  Bunting  did  for  the  Irish  instrument,  which 
has,  since  he  wrote,  become  obsolete  ? ' 

The  writer  will  be  glad  to  hear  of  any  Irish  or  Highland  Harps  of 
considerable  antiquity  that  are  not  noticed  in  this  volume.  There  may 
be,  and  it  is  to  be  hoped  that  there  are,  interesting  specimens  in  country 
houses  that  are  known  and  valued,  while  some  that  have  been  put 
aside,  and  are  forgotten,  may  yet  be  brought  to  light. "^ 

The  photogravure  plates,  both  in  this  and  the  succeeding  volume,  are 
by  the  Swan  Electric  Engraving  Company,  London,  and  the  Messrs. 
Annan  of  Glasgow,  and  the  lithographs  by  the  Messrs.  Banks  and  Co.,  and 
Messrs.  M'Lagan  and  Gumming,  of  Edinburgh.  All  the  plates  and  blocks 
marked  by  the  monogram  ^  are  the  writer's  own  work,  and  are  almost 
entirely  from  rubbings  and  tracings,  principally  gelatine,  taken  from  the 
original  ornamentation,  or  from  photographs.  These,  although  mere 
outline  drawings,  he  has  endeavoured  to  make  as  accurate  as  possible, 
and  it  is  hoped  they  fairly  represent  the  objects  referred  to  in  the 
text.  All  the  illustrations  in  both  volumes  are  copyright,  except  such 
reproductions  of  engravings  as  have  been  previously  published  and  have 
not  been  reproduced  by  hand. 

It  is,  perhaps,  the  most  pleasing  duty  of  an  author  to  acknowledge 
assistance  he  has  received ;  and  in  the  production  of  this  and  the  suc- 
ceeding volume  assistance  has  been  most  generously  and  ungrudgingly 
given,  not  only  by  personal  friends,  but  by  many  with  whom  he  had  no 

'  Since  this  paragraph  was  written  a  Tutor  for  the  writer  trusts  that  they  will  not  be  removed, 

the  Triple  Welsh  Harp,  from  the  Ms.    of  the  late  at  least  before  they  have  been  cleaned  of  rust, 

Ellis  Roberts,  has  been  published  by  the  Vincent  and  then  properly  gauged  and  measured,  and  the 

Music  Co.,  9  Beruers  Street,  London,  W.  number  of   each  string,   counting  from   the  first 

-  If  any   such    are   discovered,    and    there  are  treble  striug,  and  the  metal,  noted, 
strings  or  remuants  of  strings  attached  to  them, 


PKEFACE  ix 

previous  acquaintance.  His  thanks  are  specially  due  to  Lady  and  Miss 
Hodson,  Mrs.  and  Miss  Otway-Ruthven ,  Miss  Middleton,  the  Council  of 
the  Society  of  Antiquaries,  Scotland,  the  Council  of  the  Royal  Irish 
Academy,  the  Council  of  the  Belfast  Natural  Historj'^  and  Philosophical 
Society,  Lord  Walter  Fitzgerald,  Sir  Robert  Adair  Hodson,  Bart.,  the 
MacDermot  Roe,  Lieutenant-Colonel  Ryan-Lanegan,  Lieutenant-Colonel 
Plunkett,  C.B.,  Rev.  Thomas  K.  Abbott,  Senior  Fellow,  T.C.D., 
Rev.  F.  W.  Galpin,  Rev.  Alen  M.  Maclean,  Rev.  Canon  Hewson, 
Joseph  Anderson,  E.sq.,  LL.D.,  T.  H.  Longfield,  Esq.,  George 
Coffey,  Esq.,  J.  Romilly  Allen,  Esq.,  A.  B.  Skinner,  Esq.,  Richard 
Langrishe,  Esq.,  G.  A.  J.  Cole,  Esq.,  Walter  G.  Strickland,  Esq., 
E.  W.  Hennell,  Esq.,  Archibald  Constable,  Esq.,  William  Douglas, 
Esq.,  Thomas  Ross,  Esq.,  George  Donaldson,  Esq.,  T.  H.  Thomas,  Esq., 
W.  I.  Browne,  Esq.,  William  Jackson,  Esq.,  Messrs.  Adam  and 
Charles  Black,  the  Messrs.  Glen,  Mr.  A.  M'Googan,  Mr.  G.  A.  Stuart, 
Mr.  Alexander  Ritchie,  and  all  others  whose  names  may  unintention- 
ally be  omitted,  but  who  have  assisted  in  the  production  of  this  and 
the  succeeding  volume. 

R.  B.  A. 

Jpril  ]90-t. 


CONTENTS 


FACE 

Preface,    ..........  vii 


THE    IRISH    HARP 

Historical  Notices.  The  Bards.  Historical  Notices  (contimted).  Representa- 
tions, Metal,  Stone,  etc.  Description  and  Construction.  Method  of 
Playing.     Scale  and  Tuning,  etc     Deca}'  and  Disappearance,       .  .  1-54 

Existing  Specimens 

The  Trinity  College  Harp.  The  Cast.  Harp  Mountings  found  at  Ballinderry. 
The  Fitzgerald  or  Dalway  Harp,  The  Kildare  Harp.  The  Castle  Otway 
Harp.  The  O'Ffogerty  Harp,  Two  Harps,  the  Property  of  the  Royal 
Irish  Academy.  The  Belfast  Museum  Harp.  The  Downhill  Harp.  The 
Bunworth  Harp.  The  Hollybrook  Harp.  A  Harp  by  John  Egan.  A 
Harp  at  South  Kensington,  The  Charlemont  Harp.  The  Belfast 
Society  Harps.     A  Harp  in  the  National  Museum,  Edinburgh,      .  .      65-109 

Missing  Specimens 

A  Harp  noticed  by  Mr.  Bellew,  of  Castle  Bellew.  The  Magennis  Harp.  A  Harp 
by  John  Kelly.  The  Hnrp  of  Arthur  O'Neill.  The  Castle  Caldwell 
Harp, 109-115 

Specimens  known  to  have  been  Destroyed 
Cardan's  Harp.     The  Bunworth  Collection.     The  Limerick  Harp,  .  .    115-119 

Music 

Feaghan  Geleash,  or  "Try  if  it  is  in  tune."      Lamentation  of  Dierdre  for  the 

Sons  of  Usneach,  Bunting,  ....-•  121 

A  Lesson  for  the  Harp,  R.  B.  A.,   .  .  .  .  -  •  •  122 

Coulin,  R.  B.  A., 123 


xu 


MUSICAL    INSTRUMENTS 


Scott's  Lamentation,  R.  B.  A.,        . 

The  Young  Man's  Dream.     Tlie  Cavalcade  of  the  Boyne,  R.  B.  A 

The  Dawning  of  the  Day.     The  CM  Truagh,  R.  B.  A.,      . 

Girls,  have  you  seen  George  1     The  Summer  is  coming,  R.  B.  A., 

The  Yellow  Blanket.     Little  Molly  0,  R.  B.  A., 

The  Black  Rosebud.     Molly,  my  Treasure,  R.  B.  A., 

The  Groves  of  Blarney.     The  Wren,  R.  B.  A.,       . 

The  Jolly  Ploughman,  R,  B.  A,,    . 

New  Langolee,  R.  B.  A.,     . 

Molly  Macalpin.     Aileen  Aroon,  R.  B.  A., 

Kitty  Nowlan.     Nora,  my  Thousand  Treasures,  R.  B.  A. 

Burn's  March,  R  B.  A.,      . 

Cardan's  Concerto,  R.  B.  A., 


124 
125 
126 
127 
128 
129 
130 
131 
132 
133 
134 
135 
136 


ILLUSTRATIONS  (FULL-PAGE  PLATES) 


Frontispiece — wire-strung  Irish  Harp,  manufactured  by  J.  Egan,  of  Dublin,  for 

the  Belfast  Irish  Harp  Society. 
Title-page^arranged  and  drawn  by  R.  B  A. 
A.  Bard  and  Harper  from  Derrick's  Image  of  Ireland,        .... 

Representations  of  Harpers  upon  the  Shrine  of  St.  Moedoc  and  upon  the  Shrine 

of  St.  Patrick's  Tooth, 
Harp  upon  a  Monument  at  Jerpoint  Abbey, 
Edward  Bunting,     .... 

Programme  of  Music  played  by  four  Harpers  before  H.  M.  George  iv.,  at  the 

Mansion-House,  Dublin,  August  1821, 
Ancient  Harp,  Trinity  College,  Dublin — 
Plate     I.  Perspective  and  front. 
Details,  R.  B.  A., 
,,      11.  Left  side, 
,,     III.  Right  side. 
Harp  Mountings  found  at  Ballinderry, 
The  Fitzgerald  or  Dalway  Harp — ■ 

Plate     I.  Right  side.      Portion  of  the  Fore-pillar,  and  a  probable  Box 
supplied  by  R.  B.  A., 
II.  Left  side  of  Fore-pillar  and  of  the  Harmonic  Curve,  and  th 
front  of  the  Fore-pillar,  .... 

The  Kildare  Harp — 

Plate     I.  Perspective,  ...... 

,,      11.  Left  side,      ....... 

,,     III.  Details,    ....... 


24 
24 
38 

52 

54 
56 
58 
58 
62 


64 

6G 

70 
70 

72 


CONTENTS 


xiu 


The  Castle  Otway  Harp — 

Plate     I.  Perspective,  showing  portion  of  the  right  side, 
,,      II.  Perspective,  showing  portion  of  the  left  side, 
The  O'Ffogerty  Harp, 
Dennis  Hempson,   . 
The  Bunworth  Harp, 
The  HoUybrook  Harp, 
Thurlough  Carolan, 


74 
7G 
78 
90 
92 
96 
114 


BLOCK   ILLUSTRATIONS 


Sub-title— The  Irish  Harp,  R.  B.  A.,  . 

Irish  Harp,  Crown  and  Shamrocks,  R.  B.  A.,  . 

Harper  from  Derrick's  Image  of  Ireland.     Irish  Harp  from  Pretorius,  1619, 

The  Castle  Otway  Harp,  showing  the  construction  of  the  Box,  R.  B.  A., 

"Shoes  of  the  Strings"  upon  Irish  Harps,  R.  B.  A.,  . 

Scale  of  the  Irish  Harp,  from  Pretorius,  R.  B.  A., 

Scale  of  the  Irish  Harp,  from  Bunting,       ..... 

Method  of  Tuning  the  Irish  Harp,  from  Bunting, 

The  Strings  of  the  Harp,  R.  B.  A., 

The  Graces,  Shakes,  Double  Notes,  Chords,  etc.,  from  Bunting,    . 

Double  Notes,  Chords,  etc.,  for  the  right  hand,  from  Bunting, 

Scale  of  Egan's  wire-strung  Harp,  and  supposed  Tuning,  R.  B.  A., 

The  Trinity  College  Harp.     Left  and  right  sides  of  the  Harmonic  Curve,  K.  B.  A 

Grotesque  Animals  represented  upon  the  Fore-jiillar,  R.  B.  A., 

Front  and  side  of  metal  enrichment  upon  the  Harmonic  Curve,  R.  B.  A , 

The  Harp  in  its  present  state.     The  probable  form  of  the  Harp  before  it  passed 

through  the  hands  of  the  restorers,  R.  B.  A., 
The  Harp-mountings  from  Ballinderry.     The  left  side  and  lower  end,  R.  B.  A., 
The  Fitzgerald  or  Dalway  Harp.     The  Queen.     Section  of  moulding  underneath 
the  Harmonic  Curve,  R.  B.  A.,     ..... 

The  Ornamentation  upon  the  flange  of  the  T-formation,  both  sides,  R.  B.  A 
The  Kildare  Harp.     Ornamentation  upon  the  Fore-pillar,  R.  B.  A., 

Sound-hole  and  incised  Ornamentation  upon  the  Sounding-board,  R.  B.  A., 
The  Castle  Otway  Harp — 

Ornamented  Metal  upon  String-band.     Side  of  Cap  or  enrichment  upon 
the  Harmonic  Curve,  R.  B.  A., 

Chevron  and  interlaced  ornamentation  upon  the  Harmonic  Curve,  R.  B.  A., 

The  left  side  and  the  front  of  the  Fore-pillar,  R.  B.  A.,      . 

Ornamentation  in  relief,  and  Wolf-dog  upon  the  front  of  the  Fore-pillar, 
R.  B.  A., 


XVII 

xviii 
26 
28 
29 
37 
38 
39 
40,  41 

42,  43 

43,  44 
52 
55 
57 
58 

60 
64 

65 
66 
70 
71 


74 
75 
76 


XIV 


MUSICAL    INSTRUMENTS 


Sound-holes  upon  the  Downhill  and  Castle  Otway  Harps,  and  incised  Numerals 

upon  the  latter,  R.  B.  A., 
The  O'Ffogerty  Harp.     The  right  side  and  back,  R.  B.  A 
The  O'Neill  Harp,  Dublin  Museum,  R.  B.  A., 
Harp  in  the  Dublin  Museum,  R.  B.  A.,      .  . 

The  Belfast  Museum  Harp,  R.  B.  A., 
The  Downhill  Harp,  R.  B.  A.,        . 

The  Bunworth  Harp.     The  right  side  and  the  front  of  the  Fore-pillar,  R.  B.  A 
The  Hollybrook  Harp — 

Diagram  and  sections,  showing  the  construction  of  the  Box,  R.  B.  A., 

The  right  side,  R.  B.  A.,      . 

Section  of  the  Fore-pillar,  R.  B.  A., 
Harp  at  South  Kensington,  R.  B.  A., 
Harp  by  John  Kelly,  R.  B.  A., 
Arthur  O'Neill,  from  Bunting, 


78 
80 
82 
84 
85 
89 
93 

97 
98 
99 

103 
110 
111 


CONTENTS 


THE    HIGHLAND    HAEP   (CLARSCHA) 

FAQE 

Historical  Notices,  Bards,  Story-tellers,  Vocalists.  Musical  Instruments. 
Excerpt  from  the  Accounts  of  the  Lord  High  Treasurer  of  Scotland, 
relating  to  the  Harp  and  Clarscha.     Representations  upon  Stone,  .    139-158 


Existing  Specimens 
The  Lamont  Harp.     The  "Queen  Mary"  Harp,   . 


158-184 


Music 

Lude's  Supper,  E.  B.  A.,     . 

Highland  Laddie,  R.  B.  A,,  .  .  . 

Leezie  Linsay.     The  Yellow-haired  Laddie,  R.  B.  A., 

The  Terror  of  Death,  R.  B.  A.,       . 

The  Fiddler's  Content,  R.  B.  A  ,    . 

Rorie  Dall's  Sister's  Lament,  R.  B.  A., 

My  Ain  Kind  Dearie.     The  Land  o'  the  Leal,  R.  B.  A., 


185 
186,  187 
188 
189 
190 
191 
192 


ILLUSTRATIONS  (FULL-PAGE  PLATES) 

The  Highland   Harp  as  represented  upon  Stone,   at  Aldbar,  Nigg,   Dupplin, 
Monifieth,  St.  Oran's  Chapel,   lona;   the  Cathedral,    loiia  ;    Keills,  and 
Kilcoy,  R.  B.  A.,     .  .  .  .  .  .  -  .154 

The  Lamont  Harp — 

Plate     I.  Perspective,  .  .  .  .  .  •  .158 

„      II.  The  Straps.    The  side  and  front  of  the  metal  enrichment,  E.  B.  A.,        160 
,,     III.  The  upper  portion  of  the  box.     The  lower  termination  of  the 
string-band.     The  treble  end  of  the  tuning-peg  band — left 

side.     Do.-right  side,  R.  B.  A. 162 

„     IV.  Probable  form  of  the  Harp  before  the  fraction  of  the  Fore-pillar, 

R.  B.  A. 166 

The  "  Queen  Mary  "  Harp — 

Plate       I.  Perspective,       .  .  .  .  .  •  .168 

„         II.  The  Left  side,    .  .  .  .  .  .  .170 

III.  The  Right  side,  .  .  .  .  -  .172 

„        IV.  The  Fore-pillar.     The  reptiles'  heads,  actual  size,  R.  B.  A.,     .  174 


XVI 


MUSICAL    INSTRUMENTS 


The  "Queen  Mary"  HsiTp— Continued — 

Plate       V.  Present  form  of  the  Harp  and  the  probable  form  of  the  Harp 
■when  it  left  the  hands  of  the  artificer,  R.  B.  A., 

„  vr.  The  Box  No.  1.  The  front.  The  right  side  and  shoulder. 
The  left  side  and  shoulder,  R.  B.  A., 

„  VII.  The  Box  No.  2.  The  upper  portion  of  the  back.  Remains  of 
ornamentation  upon  the  left  and  right  sides  of  the  back. 
The  right  side  of  the  projecting  block,  with  the  missing 
portion  restored.  The  left  side  of  do.  The  lower  front  of 
do.,  showing  the  portion  worn  away.  The  lower  termina- 
tion of  the  box,  R.  B.  A.,       .... 

„  VIII.  The  Harmonic  Curve.  The  front  of  the  bass  termination 
The  moulding  underneath.  Section,  showing  the  moulding, 
The  left  side.     The  right  side,  R.  B.  A., 

„  IX.  The  Fore-pillar.  The  ornamentation  upon  the  T-formation 
Do.  upon  the  left  and  right  sides.  Do.  upon  the  back 
Do.  upon  the  upper  and  lower  portions  of  the  front,  R,  B.  A 


PAGE 

174 

176 


176 


ISO 


180 


BLOCK  ILLUSTRATIONS 

Sub-title— The  Highland  Harp,  R.  B.  A., 

Thistle,  R.  B.  A.,    . 

Diagram  showing  the  probable  form  of  the  Box  of  the  ancient  Harp,  R.  B.  A., 

The  Lamont  Harp — 

The  "Shoes  of  the  Strings,"  R.  B.  A.,         .... 

The  Ornamentation  upon  the  Tuning-pegs,  R.  B.  A., 
The  "Queen  Mary"  Harp— 

The  "  Shoes  of  the  Strings,"  R.  B.  A.,  .... 

Ornamentation  upon  the  Tuning-pegs,  R.  B.  A.,     . 

Ornamentation  upon  the  Fore-pillar,  R.  B.  A., 


137 
138 
157 

160 
162 

168 
171 
176 


Index, 


195 


THE    IRISH    HARP 

In  a  work  such  as  this  it  may  not  be  possible  to  do  full  justice  to 
au  instrument  of  such  importance  as  the  wire-strung  Irish  Harp ;  but 
the  writer  has  endeavoured  to  give,  in  the  following  notice,  such 
information  as  the  ordinary  reader  may  require.^ 

That  music  was  cultivated  in  Ireland  at  a  very  remote  period,  and 
that  the  inhabitants  of  the  country  had  arrived  at  the  highest  degree  of 
excellence  both  as  composers  and  as  performers  upon  the  Harp,  is 
undoubted  ;  but  to  enable  the  reader  to  judge  of  the  estimation  in  which 
the  Irish  Harp,  and  also  the  harpers  and  other  musicians,  were  held, 
not  only  by  their  own  countrymen  but  by  those  of  other  nationalities, 
it  has  been  considered  advisable,  before  proceeding  with  the  description, 
etc.,  of  the  Harp,  to  reprint — as  far  as  possible  in  chronological  order 
— some  of  the  notices  that  are  to  be  found  in  Irish  MSS.  of  a  very  early 
period,  and  also  such  statements  as  are  to  be  met  with  in  works  prepared 
during  the  twelfth,  thirteenth,  fourteenth,  fifteenth,  sixteenth,  and 
seventeenth  centuries.  This  portion  of  the  chapter  has  been  so  arranged 
that  the  reader  not  specially  interested  in  the  historical  notices  can  pass 
directly  to  the  description  of  the  Harp. 

HISTORICAL   NOTICES 

The  Ollamhs  or  Doctors,  heads  of  the  professions  of  History,  Poetry, 
Music,  etc.,  as  well  as  their  wives,  enjoyed  valuable  privileges.^  Although 
an  accomplished  poet  may  occasionally  have  been  a  proficient  in  history 

'  The  account  of  the  instrument  given  by  Eugene  worldly   troubles    in    the   prosecution    of    their 

O'Curry,   in   the   third   volume   of    his   Lectures,  studies,     etc.       When    an    eminent    Antiquary, 

and  the  notices  of  Irish  MSS.  relating  to  it,  or  of  Physician,  Poet,  or  Harp-player  died,  his  eldest 

those  in  which  it  is  referred  to,   are   extremely  son  did  not  succeed  him  either  in  his  estate  or 

interesting.       Much   will   also   be    found  in   The  salary  unless  he  were  the  most  accomplished  of 

Ancient  Music  of   Ireland,   by  Edward  Bunting,  the  family  in  that  profession  ;  otherwise,  the  most 

which  will  repay  perusal.  learned  member  of  the  tribe  to  which  he  belouge<l 

2  The     Historians,     Physicians,      Poets,     and  was  appointed  bis  successor  both   in  office  and 

Harpers    had    estates    settled   upon    them   that  emoluments. — Keating,  pp.  137,  138.      O'Curry 's 

they   might    not    be    disturbed    by    cares    and  Materials  for  History,  pp.  3,  252.    "The  Ollamhs 


2  MUSICAL    IN  ST  EUMENTS 

or  music,  the  pi'ofessions  of  History,  Poetry,  and  Music,  as  the  following 
extracts  from  the  ancient  Mss.  prove,  were  distinct.  In  the  Annals  of 
the  Four  Masters,  of  the  twenty  historians  noticed,  one  was  also  a  poet. 
Of  the  eighty-six  poets  mentioned,  one  was  also  an  historian.  And  of 
the  twelve  musicians  to  be  hereafter  noticed,  one  was  also  skilled  in 
Fenachus  Law,  while  another,  a  man  of  unusual  culture,  was  also  skilled 
in  history,  poetry,  and  general  literature.^ 

Professor  O'Curry,  whose  vast  knowledge  of  the  most  ancient  poems, 
historical  tales,  etc.,  enabled  him  to  throw  much  light  upon  the  cultiva- 
tion of  music  in  Ireland  at  remote  periods,  states  that  the  earliest 
notice  of  a  harp-player  occurs  c.  541  B.C.  This  person,  Craftine,  is 
mentioned  in  several  legendary  tales.  One  of  these,  which  O'Curry  has 
not  noticed,  may  be  briefly  referred  to.  Craftine,  whose  instrument 
had  been  injured,  is  stated  to  have  gone  to  a  wood  in  search  of  a 
suitable  tree  for  the^  purpose  of  constructing  another  Harp,  and  the 
tree  he  selected  was  a  willow.^  This  is  of  value  as  showing  that  the 
Harp,  when  it  most  probably  was  a  small  and  primitive  instrument, 
was  constructed  of  willow  wood. 

The  writer  is  unable  to  place  Professor  O'Curry 's  extracts  from 
ancient  poems  and  tales  in  chronological  order,  but  a  certain  number 
are  here  reprinted  for  a  purpose  to  be  hereafter  explained. 

In  a  very  ancient  poem  in  which  is  recorded  the  tragic  death  of  Curoi 
MacDaire,  who  was  King  of  West  Munster,  at  the  period  of  the 
Incarnation,  we  have  an  interesting  notice  of  Ferceirtne,  who  was  that 
monarch's  faithful  poet  and  harper.^ 

"Make  amusement  for  us,  O'Donnbo !  because  thou  art  the  best 
minstrel   in  Erinn,  namely  at  Cuiseachs,   at  pipes   (or  tubes),  and  at 

of  Music,  or  those  raised  to  the  highest  order  of  During  his  time  the  princiiial  liarj^er  at  Tara  was 

Musicians  of  ancient  Erinn,  -were  obliged  by  the  Ahhean, the  son  of  Becelmas. — O'Curry 's  Lectures, 

rules  of  the  order  to   be  j)erfectly  accom|dished  \oh  iii.  p.  42. 

in  the   performance    of   three  peculiar  classes  or  ^  Keating's  History  of  Ireland,  p.    IC7.     In  a 

pieces  of  music,  namely  the  Suantraighe,   which  poem  of   a  much  later  date  (c.    1200),   a  willow 

no     one     conld     hear    without     falling     into     a  Harp  is  thus  noticed : — 

delightful    slumber;    the    Goltraigbe,    which    no  ■■  strings  as  sweet  as  his  conversation 

one  could  hear  without  bursting  into  tears   and  On  a  willow  harp  nn  lingers  have  played ; 

lamentations;    and    the    Geantraighe,    which    no  Nor  have  the  youth's  wliiie  fingers  tonched 

,,,             •. ,       ,  ,        ^-            i-    i     1      J       J  An  instrument  sweeter  than  his  own  mouth." 
one  could  hear  without  bursting  out  into  loud  and 

irrepressible  laughter." — O'Curry,  Ibid.,  p.  255.  O'Curry's  Lectures,  voL  iii.  pp.  270,  271. 

^  Lug,  perhaps  a  fictitious  person,  is  stated  to 
have  been  perfect  in  all  the   arts  and  sciences.  ^  Ibid.,  vol.  ii.  p.  97. 


THEIEISHHAEP  3 

harps,  and  at  poems,   and    at  traditions,   and  at   the  royal   stories  of 
Erinn."— A.D.  718/ 

In  a  record  or  tradition  belonging  to  a  very  remote  period  we  have 
a  notice  of  a  learned  poet  called  Cir,  and  of  a  celebrated  cruitire,  or 
harper,  named  Ona.^ 

From  the  account  of  the  "  Pot  of  Avarice  "  we  learn  that  while  the 
poem  was  being  chanted,  the  best  nine  musicians  in  the  company  played 
music  around  the  pot.^ 

At  the  triennial  meeting  at  Tara  a  great  banquet  was  always  given. 
In  the  History  and  Antiquities  of  Tara,  Dr.  Petrie  gives  facsimiles  from 
two  Mss.  showing  the  positions  occupied  at  this  feast  by  those  who  were 
entitled  to  be  present.  There  were  two  rows  of  guests  on  either  side 
of  the  hall,  and  on  the  first  and  oldest  plan  from  the  Book  of 
Glendalough  we  find  amongst  the  list  of  those  who  were  placed  along 
the  external  division  on  the  left,  Horsemen,  Harpers,  Brehons,  Professors 
of  Literature,  Tanist-professors,  OUamh-poets,  Anroth-poets,  Augurs, 
Druids,  House-builders,  and  Carpenters.  The  Charioteers,  Huntsmen, 
Cli,*  Historian,  and  Eath-builder,  occupied  seats  along  the  external 
division  to  the  right,  while  along  the  internal  division  to  the  left  were 
ranged  Pipers,  Smiths,  Shield-makers,  Chariot-makers,  Jugglers,  Trum- 
peters and  Footmen,  Distributers  and  Fishermen,  Shoe-makers ;  and  to 
the  right  were  seated  Chess-players,  Braziers,  Physicians,  Mariners,  and 
King's  fools. 

The  second  plan  is  somewhat  difi'erent :  along  the  external  division 
to  the  left  were  seated  Horsemen,  Charioteers  and  Stewards,  Harpers 
and  Tyrapanists,*  Brehons,  Professors  of  Literature,  Tanist-professor, 
Ollamh-poet,^  Anrudh,^  Augurs,  Druids,  House-builders,  Carpenters, 
Rath-builders,  Trumpeters,    Engravers    and    Ring-makers,  Shoe-makers 

'  O'Curry's  Lectures,  vol.  iii.  p.  310.  way  of  eomiiensation,   if   it  was  off  him  it  (the 

2  Ibid.,  vol.  ii.  pp.  4,  5.  nail)  was  cut."     The  term  "  Timpanach  "  is  not 

3  Ibid.,  vol.  ii.  p.  56.  in  the  translation,  but  is  from  the  Irish.  It  would 
*  A  poet  of  the  third  order.  api>ear  there  were  either  two  kinds  of  "timpan  " 
^  Professor  O'Curry,  after  a  searching  inquiry,  or  that  the  tyrapanist,  besides    using   the   bow, 

came  to  the  conclusion  that  a  "timpan"  was  a  occasionally  pulled    the    strings  with  his  finger. 

species  of  violin,  and  that  from  one  kind  the  sound  nails,   which   was   the    manner   of   playing   upon 

was  produced  by  a  bow.      The  following  curious  the  harp   (perhaps  at  that)   certainly  at   a  later 

extract  is  from  the  Book  of  Aicill,  printed  in  the  period. 

Ancient  Laws  of  Ireland,  vol.  iii.  p.  353  : — "And  ^  (Feli)  Chief  poet. 

a  wing-nail  shall  be  given  to  the  '  Timpanach '  by  '  The  name  of  the  second  order  of  poets. 


4  MUSICAL    INSTEUMENTS 

and  Turners.  Along  the  external  division  to  the  right  sat  Charioteers, 
Hunters,  Cli,^  Historian,  Dos,^  Carpenters,  Fochloe,'  Cooks,  Kath-builders. 
Along  the  internal  division  to  the  left,  Pipers,  Smiths,  Shield-makers, 
Chariot-makers,  Jugglers,  Satirists  vrere  ranged,  while  along  the 
internal  division  to  the  right  sat  the  Chess-players,  Drink-bearers, 
Braziers,  Fools,  Physicians,  Mariners,  and  Buffoons.* 

It  may  be  concluded  that  each  person  for  whom  a  seat  was  provided 
was  highly  trained  and  skilled  in  his  own  particular  art.  The  bards  (as 
will  presently  be  shown)  had  no  regular  education,  so  probably  on  that 
account  were  not  admitted  to  the  banquets. 

The  court  of  the  King  of  Cashel,  in  accordance  with  ancient  custom 
and  privilege,  was  supplied  by  certain  ofl&cers  from  particular  territories. 
Thus  "his  harpers  were  furnished  by  the  Corcoiche  in  the  County  of 
Limerick,"  while  bis  poets  and  scholars  came  from  the  Muscraighe  of 
Ormond.* 

It  is  recorded  that  when  MacLigg,  who  succeeded  MacLonain  as 
chief  poet  of  Erinn,  went  on  a  visit  to  King  Brian  Boroihme,  he  was 
accompanied  by  learned  men  and  his  pupils,  and  attended  by  Ilbrechtach 
the  harper,  who  had  been  harper  to  his  predecessor,  MacLonain.® 

Eochad,  or  better  known  as  Ollamh  Fodhla  on  account  of  his  learning, 
"  for  the  encouragement  of  learning,  made  a  law,  that  the  dignity  of 
an  Antiquary,  a  Physician,  a  Poet,  and  a  Harp-player  should  not  be 
conferred  but  upon  persons  descended  from  the  most  illustrious  families 
in  the  whole  country."  ^ 

In  the  reign  of  Cormac  Ulfada,  a.d.  213,  it  was  established  by  law 
that  every  monarch  of  the  kingdom  should  be  attended  by  these  ten 
officers.  He  was  obliged  to  have  always  in  his  retinue  a  lord,  a 
judge,  an  augur  or  druid,  a  physician,  a  poet,  an  antiquary,  a  musician, 
and  three  stewards  of  his  household.  The  poet  was  to  transmit  to 
posterity  the  heroic  and  memorable  actions  of  famous  men,  of  whatever 
quality  they  were,  to  compose  satires  upon  debauchery  and  vice,  and 

1  A  poet  of  the  third  order.  are  behind  the  Poets.     The  Flute-players,  Horn- 
"-  A  poet  of  the  fourth  order.  blowers,  and  Jugglers  are  placed  in  the  south-east 

2  A  poet  of  the  lower  rank.  part." — Ancient  Laws  of  Ireland,  vol.  iv.  p.  339. 
■•  Transactions   of    the    Royal  Irish    Academy,  ^  O'Curry's  Lectures,  vol.  iii.  p.  20S. 

vol.  xviii.     See  also  O'Curry's  Lectures,  vol.  ii.  ^  Ibid.,  vol.  ii.  p.  99. 

pp.  14,  15;  vol.  iii.  pp.  367-509.     "The  Harpers  '  Keating,  p.  139. 


THEIEISHHAEP  5 

to  lash  the  immorality  of  courtiers  and  inferior  persons  without  partiality 
or  affection.  The  musician  was  to  divert  the  king  with  his  instruments, 
to  sing  before  him,  when  he  was  pleased  to  throw  off  public  cares,  and 
ease  his  mind  from  the  business  of  the  state."  ^ 

One  MS.  quoted  by  O'Curiy  gives  a  very  minute  but  no  doubt  exag- 
gerated account  of  the  court  of  Conaire  Mor,  when  moving  about  the 
country.  Ingcel,  a  British  outlaw,  obtained  admittance  to  the  court  for 
the  purpose  of  seeing  whether  it  was  possible  to  attack  and  plunder  the 
palace  of  Daderg.  On  his  return  to  the  outlawed  foster-brothers  of 
Conaire  Mor  he  related  what  he  had  seen,  and  described  the  appearance 
and  dress  of  the  different  persons  in  attendance  upon  the  king.  Nine  of 
these  were  pipe-players  and  three  were  poets.  The  harpers  are  thus 
described : — 

"  I  saw  nine  others  in  front,"  said  Ingcel,  "  with  nine  bushy,  curling 
heads  of  hair,  nine  light-blue  floating  cloaks  upon  them,  and  nine  brooches 
of  gold  in  them.  Nine  crystal  rings  upon  their  hands  ;  a  thumb  ring 
of  gold  upon  the  thumb  of  each  of  them  ;  ear  clasps  of  gold  upon  the 
ears  of  each  ;  a  torque  of  silver  around  the  neck  of  each.  Nine  shields 
with  golden  emblazonments  over  them  on  the  wall.  Nine  wands  of 
white  silver  were  in  their  hands.  I  know  them,"  said  Ferrogain,  "  they 
are  the  king's  nine  harpers,  namely.  Side  and  Dide,  Dulothe  and 
Deichrlnni,  Caumul,  and  Cellgen,  01  and  Olene,  and  Olchoi."" 

To  the  foregoing  passages  from  the  ancient  Irish  mss.  may  be  added 
the  following  extract,  translated  by  Hardiman  from  an  old  historical 
tale,  entitled  Kearnagh  Ui  Donnell.  "  The  Keai-nagh  took  a  loud-toned, 
sweet-stringed  harp ;  the  train  below  heard  him  among  the  rocks,  even 
they  who  cast  the  soothing  strains  which  leave  the  passions  captive  ; 
which  cause  some  to  dissolve  in  tears,  some  to  rise  with  joy,  and  others 
again  to  sink  in  sleep.  But  sweeter  than  all  was  the  song  of  Kearnach. 
The  fell  woundings,  diseases,  and  persecutions  of  the  world  seemed  to 
cease,  while  its  sweet  stx'ain  lasted.  He  took  the  hai-p,  and  it  sent 
forth  soft  warbling  sounds.  Wounded  men,  and  women  in  travail,  and 
the  wily  serpent  slept  while  he  played.      Again  he  tuned  the  harp  and 

1   Keating,    pp.   280,  281.       These    regiilntions  -  O'Curry's    Lectures,    vol.    iii.    pp.    14G,    147. 

■were  observed  from   the  death  of  Corniau  to  the       Couaire  Mor  was  killed  33  B.C. 
death  of  Brian  Boroihme. — Ibid. 


6  MUSICAL    INSTRUMENTS 

roused  the  note  of  war,  wondrous  and  terrible.  He  struck  the  thick 
chords  of  bold  and  fiery  notes  ;  then  the  slow  and  deepening  tones  of 
tragic  grief,  full  of  melancholy  and  gloom,  intermingled  with  melodious 
strains." ' 

THE   BAEDS 

The  profession  of  jDoet  was  of  the  very  highest  rank  in  Ireland,  and 
although  the  course  of  study  was  unusually  severe,  and  extended  over 
a  considerable  number  of  years,  the  qualified  poets  had  such  peculiar 
privileges,  and  were  so  richly  endowed,  that  the  profession  had  special 
attractions  for  a  large  number  of  the  inhabitants,  so  much  so  that  at 
one  time  the  profession  is  believed  to  have  numbered  one  thousand 
persons  ;  and  as  these  poets  did  not  work,  they  became  a  burden  to  the 
state,  and  their  numbers  eventually  had  to  be  reduced.  There  were 
seven  grades  or  orders  of  the  educated  poets,^  but  so  much  has  been 
printed  regarding  the  course  pursued  at  a  native  Irish  college,  that  it  is 
unnecessary  to  do  more  than  state  that  "  the  study  of  the  seventh  year 
was  the  Brosnach  of  the  Sai  (or  professor) ;  and  the  Bardesy  of  the 
Bards ;  for  these,  says  the  writer  of  the  tract,  the  poet  is  obliged  to 
know,  and  so  they  are  the  study  of  the  seventh  year."  ^ 

We  have  here  one  of  the  few  early  references  to  those  persons  who 
in  Ireland  were  known  as  bards,  and  in  the  following  paragraph  they 
are  again  referred  to.  During  the  period  Braes  usurped  the  sovereignty, 
the  chronicler  says,  "  The  knives  of  the  people  were  not  greased  at  his 
table,  nor  did  their  breath  smell  of  ale  at  the  banquet.  Neither  their 
poets,  nor  their  bards,  nor  their  satirists,  nor  their  harpers,  nor  their 
pipers,  nor  their  trumpeters,  etc.,  were  ever  seen  engaged  in  amusing 
them  at  his  court."  ^ 

Were  it  not  for  the  Ancient  Laws  of  Ireland  we  should  be  very  much 
in  the  dark  as  to  what  a"  bard  really  was ;  but  although  the  term  does 
not  appear  in  the  index  to  these  valuable  volumes,  from  an  examination 
of  the  contents  of  vol.  iv.  we  find,  p.  361,  the  following  most  interesting 
statement :    "  A  hard,  now,  is  one  without  lawful  learning  hut  his  oivn 

'   Irish  Minstrelsy,  vol.  ii.  p.  38(1.  ^  O'Curry's  Lectnres,  vol.  ii.  p.  172. 

-  Ancient  Laws  of  Ireland,  vol.  iv.  p.  357.  '  O'Curry's  Materials,  p.  24S. 


A    BARD     AND    HARPER     PERFORMING     BEFORE     THE     CHIEF     OF    THE     MACSWEYNES 

FROM   THE    REPRINT    OF    JOHN    DERRICKES    IMAGE  OF   IRELAND   1581,-  EDITED  BY  JOHN   SMALL. 


A.    |ioix)to^enmtot^eitfenceDljoH>eiE(,tl)efenaucs(aceentrcli  in, 
■Co  fmite  anfi  fenocfeetfte  cattelIDotone,fte  hangmen  Doe  beginuc. 
!©ncplucfee^  off  tfte€)iccj8  tote,  toljic^  ftecuen  noto  Dtfi  tteare: 
f>    Z^'^^^  ^  •atfeinspanneSjtobopletDcflellj  ,l)ts;l)iftep?cpatc. 
«    f«5"^^"»«'*atten'>l'Pont^efite,fl)jreruin5bpt^efeaft: 
»    4inD:fftt>etfmeifeaftaieabtnB  m,8otl?p?eaceamon8atftcbeft. 


ng>liopiap'tt)inEomtO;tope0tljeApe,b}>tounterfetttns^aull: 
3lfoitof)tcl)tl)erlioeatoarD!)imtijcn,tljclji8beftroomeofan. 
mbo  being  fet,  becanfe  tbe  cbeere,  i${ieeinel>  little  tvottb: 
cEi;cepttl)eramebetntermiict,an6iac'Dct»itlj3lri(l)mpjitb. 
D      23otbBarcie,anl)!^arpet,isiptepatl)e,tofttc!)bptbetttunntngatt, 
3©ocai:ifeeanDclje8ret)paUt^egeftcs;,toi^comfo.:tatt^l)att. 


THEIEISHHARP  7 

intellect."  It  would  appear  from  this  that  men  capable  of  producino- 
poetry  of  considerable  excellence,  who  were  either  uneducated  or  had 
not  gone  through  the  same  severe  course  of  study  as  the  professional 
poets/  occasionally  appeared,  and  that  such  persons  were  called  bards. 
The  poems  produced  by  some  of  these  may  have  been  of  sufficient 
importance  to  form  part  of  the  course  at  an  Irish  College.  As  a 
bard  did  not  belong  to  the  profession  of  poet,  his  death  would  pass 
unnoticed,  so  in  Dr.  O'Donovan's  translation  of  the  Annals  of  the  Four 
Masters  there  is  not  one  mentioned,  whereas  the  demise  of  a  great  poet, 
a  national  loss,  is  usually  recorded.  These  bards,  as  they  were  not 
provided  for,  are  more  likely  to  have  wandered  into  the  Pale,  or  that 
portion  of  the  country  inhabited  by  the  English  or  Anglo-Irish,  so  we 
naturally  find  sixteenth  century  writers,  such  as  Baron  Finglas  (c.  1530),- 
Holinshed  (1577),'  Spenser  (c.  1580),*  Derricke  (1581),  Stanyhurst 
(c.  1585),'^  and  Camden  (1586),"  noticing  them. 

As  the  country  came  more  under  the  subjection  of  the  English  the 
poets  probably  declined,  for  after  1550  only  three  are  mentioned  in 
the  Annals.  The  rimers,  bards,  etc.,  whom  the  Earl  of  Desmond  was 
directed  in  1563  to  proceed  against,*  perhaps  in  a  measure  replaced  the 
poets,  or  at  least  were  better  known  within  the  Anglo-Irish  district.  The 
term  bard  may  thus  have  come  to  be  used  to  some  extent  amongst  the 
Anglo-Irish  in  place  of  poet.     Certainly  we  learn  that  when  an  important 

'  The  course  was  continueil  for  twelve  years. —  of  people  called  barJs,  which  are  to  them  instead 

O'Curry's. Lectures,  vol.  ii.  p.  172.  of  poets." 

2  "Irish     Mmestralls,      Rymers,      Shannagha  *  "Both  Barde  and  Harper  is  prepared 
(Genealogists),  ne  Bards."  Which  by  their  cunning  art 

3  This  writer,  when  contrasting  the   ordinary  Doe  strike  and  cheare  up  all  the  gestes, 
spoken  language  with  the  true  Irish,  says  : — "  The  With  comfort  at  the  heart." 

toong    is    sharpe    and    sententious,   and    offereth  c.  -phe  Barde  and  Harper  mellodie, 

great  occasion  to  quick  apophthegms  and  proper  Unto  them  do  beginne. 

allusions.     Wherefore  their  common  jesters  and  This  Barde  he  doeth  report 

rimers,  whom  they  term  Bards,  are  said  to  delight  xhe  noble  conquestes  done. 

passinglie    these    that    conceive    the    grace    and  j^„^  eke  in  Rimes  shewes  forth  at  large, 

propertie  of  the  toong.     But  the  true  Irish  indeed  Their  glorie  thereby  wonne." 

differeth    so    much    from    that    they    comraonlie  .   t,      ,        ,      r,-  •      i.  » 

,       ,,    ^  ■     1.       ,       ,     ,  .,,  "  A  Bard  and  a  Kiuier  13  all  one. 

speake,  that  scarse  one  in  nve  hundred  can  either 

read,   write,    or   understand  it.      Therefore  it  is  "  "Their  common   jesters    and    rimers,   whom 

preserved    among    certeine    of    their   poets   and  they  terme  bards,  are  said  to  delight  passingly." 

antiquaries."  —  Edn.     15S6,    p.    12,    also    p.    44.  —Walker,  note,  p.  107. 

"Their   rithmours,    their    bards,    their   harperis  ^  These  have  "Poets,  whom  they  call  Bards, 

that  feed  them  with  musike,"  etc.— Ibid.,  p.  45.  and  Harpers,"  etc. 

*  "There  is  amongst  the  Irish  a  certain  kind  *  Walker's  Irish  Bards,  pp.  137,  138,  139. 


8  MUSICAL   INSTEUMENTS 

controversy  was  carried  on  in  1604  by  two  distinguished  poets,  the 
dispute  came  to  be  known  as  the  "  Contention  of  the  Bards."  ^ 

The  writer's  object  in  placing  these  notices  before  the  reader  is  to 
show,  firstly,  that  the  professions  of  poet  and  musician  were  quite  dis- 
tinct ;  secondly,  that  the  term  bard  does  not  occur  frequently  in  Irish 
MSS. ;  thirdly,  that  when  the  term  bard  is  used  by  English  and  Anglo- 
Irish  writers  of  the  sixteenth  century,  it  is  solely  with  reference  to 
poets,  rimers,  or  reciters ;  fourthly,  that  bard  does  not  appear  ever 
to  have  been  used,  and  should  not  be  used,  to  indicate  a  harper  or 
musician  unless  the  person  so  designated  was  also  a  minor  poet  or  rimer,^ 
at  least  when  the  individual  referred  to  is  connected  with  Ireland ;  and 
perhaps  we  may  say  the  same  of  Scotland,  for  Martin,  in  his  Description 
of  the  Islands  of  Scotland,  states  that  the  chieftains  in  the  Isles  each 
retained  a  "  physician,  orator,  poet,  bard,  musicians,  etc."  ^  Apparently, 
then,  a  poet,  bard,  and  musician  were  in  Scotland,  as  in  Ireland,  distinct. 

The  term  bard  seems  to  have  had  a  fascination  for  writers.  Walker,'' 
Joy,^  Bunting,^  Lady  Morgan,'^  Wilde,*  Conran,^  etc.,  were  unaware  of 
the  meaning,  and  actually  applied  it  to  harpers.  Again,  in  one  of  our 
leading  encyclopsedias,  a  misleading  paragraph  under  that  heading  will 
be  found,  and  in  an  interesting  and  recently  published  novel,  in  which 
many  scenes  in  Ireland  are  described,  a  "  bard,"  one  of  the  last  of  the 
harpers,  is  stated  to  have  played  the  well-known  melody  "  Coulin  "  upon 
his  harp.  Hardiman  and  O'Curry,  both  careful  writers,  use  the  term 
bard,  the  former  freely,  but  always  with  reference  to  poets,  the  latter 
occasionally,  probably  to  avoid  repetition,  and  always  with  reference  to 
poets,  except  in  one  case  when  he  quotes  his  friend  Dr.  Petrie,'"  with 


•  O'Curry's  Lectures  on  Ms.  Materials,  p.  141.  remarked     that     both     these     individuals     were 

^  On  27th  January  1540  a  general  pardon   was  harpers,    and  that  the  first  mentioned  was   also 

granted  to   Owen   Keynan    (Keenan)  of  Capper-  a  rimer    and    bard.      It  appears  that  the   terms 

varget,   in  the  county  of  Kiklare,  harper,  other-  were  not  interchangealde. 

wise  called  Owen  Keynan,  servant  of  Gerald,  late  ^  Edn.  1716,  p.  109. 

Earl  of   Kiklare,   otherwise  Owen  Keynan,   (the)  i  Bards,  pp.  58,  137,  156. 

Kymour,    otherwise    Owen     Keynan,    the    poet,  6  i^  Bunting,  coll.  1809,  p.  3. 

otherwise    Owen    Keynan,    Keyeghe   Berde   (the  g  ■,,■■,          ■■■ 

blind  bard),  and  for  Cornelius  Keynan  of  Capper-  ,  „,     ^          .        t  ■  ■    tt 

^    .                 ,,                    ,,    ,  V,         ■■       t'  '  The  Lay  of  an  Irish  Harp, 

avarget,  harper,  otherwise  called  Cornelius  Key-  '' 

nan,   son   of   Owen   Keynan   Keyeghe,   otlierwise  *  ^v.  I.  Academy  Catalogue. 

Cornelius,  (the)  berde  (bard).      Patent  Roll   32.  "  Irish  Minstrelsy,  pp.  16-24. 

33  Henry  viii.,  quoted  by  Hardiman.     It  may  be  '"  Lectures,  vol.  iii.  p.  298. 


THEIEISHHAEP  9 

whose  contribution  to  his  lectures  he  may  not  have  considered  it 
advisable  to  interfere. 

When  prose  writers  were  inaccurate,  we  need  not  be  surprised  that 
poets  were  mistaken.  One,  and  by  no  means  an  unimportant  one,  wrote 
the  following  graceful  lines  : — - 

"E'en  kings  themselves  have  mixed  the  bards  among, 
Swept  the  bold  Harp,  and  claimed  renown  in  Song." 

Supposing  our  information  to  be  correct,  here  we  have  the  ancient  kings 
of  Erin,  the  proudest  of  the  proud,'  unintentionally  represented  as 
degrading  themselves  by  consorting  with  a  number  of  uneducated 
rimers,  and  playing  upon  their  harps,  and  singing  songs  for  their  enter- 
tainment. This  is  not  written  with  any  wish  to  ridicule  the  work,  or 
with  any  disrespect  for  the  memory,  of  an  Irish  scholar  and  author.  The 
fine  lines  quoted,  it  must  be  remembered,  had  a  very  different  but 
mistaken  meaning  when  they  were  penned,  but  to  us  with  our  more 
exact  knowledge  they  represent  nothing  except  what  has  been  stated. 

Turlough  Carolan,  who  will  be  hereafter  noticed,  was  accustomed  to 
pay  peiiodical  visits  to  country-houses,  and  in  return  for  the  hospitality 
he  received  he  occasionally  wrote  lines  in  praise  of  his  entertainers. 
This  is  exactly  what  the  sixteenth  century  bards  are  known  to  have 
done,  but  the  bards  were  paid,  whereas  Cai-olan,  as  far  as  we  know,  was 
not.  Carolan  was  much  more  than  a  minor  poet.  The  verses  he  wrote 
he  set  to  original  and  beautiful  melodies,  and  sang  them  and  accom- 
panied himself  upon  the  harp.  He  was  in  fact  a  remarkable  musical 
genius,  and  far  more  celebrated  as  a  composer  than  as  a  poet.  It  is 
possible  that  this  rare  combination  of  poet,  singer,  composer,  and  harp- 
player  may  have  led  to  the  confused  ideas  regarding  the  meaning  of  the 
term  bard,  which  term  was  applied  to  Carolan  at  a  later  period,  and 
perhaps  during  his  life.  However,  unless  important  contradictory 
evidence  can  be  produced,  it  is  to  be  hoped  that  writers  who  may  in 
the  future  treat  of  the  ancient  and  medifeval  periods  of  Irish  history 
will  refrain  from  using  the  term  bard  when  referring  to  poets  or  harpers. 

Knowing  as  we  do  the  distinguished  position  held  by  the  professors 

1   As  already  stated,  every  King  of  Ireland  was       entertain   him  with   suitable  discourse   and   ooii- 
liy  law  bound  always  to  have  with  him  a  lord       versation. — Keating,  p.  2S0, 
who  was  to  be  a  companiou  for  the  king,  and  to 

B 


10  -MUSICAL    INSTEUMENTS 

of  poetry  in  Ireland,  we  may  conclude  that  an  ollamh  of  poetry  during 
the  palmy  days  of  Irish  culture  would  have  been  as  much  insulted  by 
being  called  a  bard  as  the  first  living  surgeon  would  be  were  the  term 
bone-setter  applied  to  him,  and  that  an  ollamh  of  music,  or  an  ollamh 
of  harp-playing,  would  have  been  equally  indignant  had  the  term  bard 
been  applied  to  either  of  them. 

Passing  this  somewhat  long  dissertation,  we  return  to  the  historical 
notices  of  the  Irish  Harp,  harpers,  and  other  musicians. 

HISTOEICAL   NOTICES   CONTINUED 

In  the  life  of  St.  Mungo,  or  Kentigern,  it  is  stated  that  a  King 
of  Ireland  sent  a  joculator  or  jongleur  to  the  court  of  Roderic,  King 
of  Wales.  This  musician  sang  and  played  upon  the  Harp  and  Tambour 
before  the  king  and  his  nobles  during  the  Christmas  holidays,  and  so 
pleased  was  Roderic  that  he  ordered  rich  presents  to  be  presented  to 
the  musician.^     Kentigern  lived  a.d.  580. 

Fuller,  in  his  account  of  the  Crusade  conducted  by  Godfrey  of 
Boulogne  at  the  close  of  the  eleventh  century,  says  :  "  Yea,  we  may 
well  think  that  all  the  concert  of  Christendom  in  this  war  would 
have  made  no  music  if  the  Irish  Harp  had  been  wanting." " 

Johannes  Brompton,  Abbot  of  Jereval  in  Yorkshire,  who  wrote 
during  the  reign  of  Henry  ii.  (1154-1189),  states  that  the  Irish  had 
two  kinds  of  Harps,  the  one  bold  and  rapid,  the  other  soft  and 
soothing ;  further,  that  the  Irish  taught  in  secret,  and  committed  their 
lessons  to  memory.^  M.  Conran  gives  an  extract  from  this  writer  of 
which  the  following  is  a  translation  :  "  And  while  Scotland,  daughter 
of  this  land,  uses  the  Lyra  (Harp),  Tympano,  and  Choro,  and  Wales 
(uses)  the  Cithara,  Trumpets,  and  Choro,  the  Irish  make  music  on  two 
kinds  of  musical  instruments,  although  headlong  and  rapid,  nevertheless 
sweet  and  pleasant,  the  modulations  (moduli)  crisp,  and  the  small  notes 
(notuli)  intricate.* 

Caradoc  of  Lhancarvan,  a  Welsh  authority  (died  c.  1147),  assures  us 

'  Anthologia  Hibernica,  in  Bunting,  coll.  1809,  an  early  authority,  it  is  still  of  value  as  showiug 

p.  15.  the  estimation  in  which  the  instrument  was  held 

2  Holy  War,  by  Thomas  Fuller,  Book  v.  1639  ;  in  IG39. 

B'Alton's     Essaj'    on    Ancient    Ireland,    p.    339.  ^  Bnnting,  coll.  1S09,  note,  p.  2,  and  also  p.  23. 

Even  if  Fuller's   statement  was   not   taken   from  ^  National  Music,  note,  p.  92. 


THE    lEISH    HAEP  11 

(according  to  Wynne)  that  the  Irish  devised  all  the  instrument  tunes 
in  use  among  the  Welsh.  ^ 

1168.  Amhlaeibh  MacMnaighneorach,  chief  OUamh  of  Ireland  in 
harp-playing,  died." 

David  Powell,  a  Welsh  histoi'ian  (1584)  who  follows  Caradoc,  states 
that  "  there  are  three  sorts  of  minstrels  in  Wales.  The  second  sort 
are  plaiers  upon  instruments,  chiefelye  the  Harp  and  Growth,  whose 
musice  for  the  most  part  came  to  Wales  with  Griffyth  ap  Gonan, 
who  being  on  one  side  an  Irishman  by  his  mother  and  grandmother, 
and  also  borne  in  Ireland,  brought  over  with  him  out  of  that  countrie 
(c.  1080)  divers  cunning  musicians  into  Wales,  who  derived  in  a  manner 
all  the  instrumental  musike  that  now  is  there  used,  as  appeareth  as 
well  by  the  books  written  of  the  same,  as  also  by  the  names  of 
the  tunes  and  measures  used  amongst  them  to  this  dale."  ^ 

Passing  these  brief  notices  we  find  Giraldus  Gambrensis,  an  accom- 
plished ecclesiastic  who  unquestionably  had  a  considerable  knowledge 
of  music,  and  who  accompanied  Prince  John  to  Ireland  in  1185,  and 
must  have  had  frequent  opportunities  of  hearing  the  very  finest 
perfoi'mei's  of  the  period,  making  the  following  remarkable  statements  : — 
"  The  attention  of  this  people  to  musical  instruments,  I  find  worthy 
of  commendation,  in  which  their  skill  is  beyond  comparison  superior 
to  that  of  any  nation  I  have  seen.^  For  in  these,  the  modulation  is 
not  slow  and  solemn,  as  in  the  instruments  of  Britain  to  which  we 
are  accustomed,  but  the  sounds  are  rapid  and  precipitate,  yet,  at  the 
same  time,  sweet  and  pleasing.  It  is  wonderful  how,  in  such  precipitate 
rapidity  of  the  fingers,  the  musical  proportions  are  preserved,  and  by 
their  art  faultless  throughout ;  in  the  midst  of  their  complicated 
modulations,  and  most  intricate  arrangement  of  notes,  by  a  rapidity 
so  sweet,  a  regularity  so  irregular,  a  concord  so  discordant,  the  melody 
is  rendered  harmonious  and  perfect,  whether  the  chords  of  the 
diatessaron  (the  fourth),  or  diapente  (the  fifth)  are  struck  together ; 
yet  they  always  begin  in  a  soft  mood,  and  end  in  the  same,  that  all 
may  be  perfected   in  the  sweetness  of  delicious  sounds.      They  enter 

'  Caradoc  of  Lhancarvan,  The  History  of  Wales,  ^  Lloyd's  translation,  edition   15S4.       Bunting 

p.   158,   W.  Wynne's    edition,    1697.       O'Curry's  coll.  1809,  p.  5. 
Lectures,  vol.  iii.  p.  353  ;  Bunting,  coll.  1809,  p.  0.  ■'Before   writing   this    account,    Giraldus    had 

2  Annals,  travelled  through  Wales,  England,  and  France. 


12  MUSICAL    INSTEUMENTS 

upon,  and  again  leave,  their  modulations  with  so  much  subtlety  ;  and  the 
tinkliugs  of  the  small  strings  sport  with  so  much  freedom  under  the 
deep  notes  of  the  bass,  delight  with  so  much  delicacy,  and  soothe  so 
softly,  that  the  excellence  of  their  art  seems  to  lie  in  concealing  it. 

'  Concealed,  it  pleases ;  but  detected,  shames.' 

"It  is  to  be  observed,  however,  that  Scotland  and  Wales — the 
latter,  in  order  to  disseminate  the  art ;  the  former,  in  consequence  of 
intercourse  and  affinity — strive  with  rival  skill  to  emulate  Ireland  in 
music.  Ireland,  indeed,  employs  and  delights  in  two  instruments, 
the  Harp  and  the  Tabor ;  Scotland  in  three,  the  Harp,  Tabor,  and 
Growth ;  and  Wales  in  the  Harjj,  the  Pipes,  and  the  Growth.  The 
Irish  prefer  strings  of  brass  wii-e  to  those  made  of  thongs.  In  the 
opinion  of  many  at  this  day,  Scotland  has  not  only  equalled,  but 
even  far  excels  her  mistress,  Ireland,  in  musical  skill  ;  wherefore  they 
seek  there  also  the  fountain,  as  it  were,  of  the  art." 

The  writer  considers  it  desirable  to  reprint  hei'e  a  literal  translation 
of  a  beautiful  poem,  which  shows  in  a  remarkable  manner  the  value 
placed  upon  the  Harp  by  those  of  the  highest  rank  both  in  Ireland 
and  in  Scotland. 

A  small  but  singularly  sweet  and  very  beautiful  Harp  which  had 
belonged  to  Donnchadh  Gairbreach  O'Brien,  whose  father,  the  last  King 
of  Munster,  died  in  1194,  had  been  by  some  means  removed  to  Scotland, 
and  MacGonmidhe,  poet  to  the  Irish  chief,  was  directed  by  his  master 
to  endeavour  to  recover  it,  either  as  a  free  gift  or  in  exchange  for  a 
flock  of  Irish  sheep. 

The  envoy  proceeded  on  his  mission,  but,  failing  to  induce  the 
Scottish  king  or  chief  to  restore  O'Brien's  Harp,  produced  on  his 
return  the  following  beautiful  lines,  the  first  portion  of  which  may  be 
his  address  to  the  possessor  of  the  harp  : — 

"  Bring  unto  me  the  harp  of  my  king. 
Until  upon  it  I  forget  my  grief — 
A  man's  grief  is  soon  banished 
By  the  notes  of  that  sweet-sounding  tree.^ 

^  In    1187    Giraldus    wrote    about    the    Irish       minds  ;    it  clears  the  clouded  couutenance,  and 
instrument : — "It  not  a  little  exhilarates  dejected       removes  superciliousness  and  austerity." 


THE    IRISH    HAEP  13 

He  to  whom  this  music-tree  belonged, 

He  was  a  noble  youth  of  sweet  performance. 
Many  an  inspired  song  has  he  sweetly  sung 
To  that  elegant,  sweet-voiced  instrument. 

Many  a  splendid  jewel  has  he  bestowed 
From  behind  this  gem-set  tree ; 

Often  has  he  distributed  the  spoils  of  the  race  of  Conn, 
With  its  graceful  curve  placed  to  his  shoulder. 

Beloved  the  hand  that  struck 

The  thin  slender-side  board : 

A  tall,  brave  youth  was  he  who  played  upon  it 

With  dexterous  hand,  with  perfect  facility. 

Whenever  his  hand  touched 

That  home  of  music  in  perfection, 
Its  prolonged,  soft,  deep  sigh 
Took  away  from  all  of  us  our  grief. 

When  into  the  hall  would  come 

The  race  of  Cas  of  the  waving  hair, 
A  harp  with  pathetic  strings  within 
Welcomed  the  comely  men  of  Cashel. 

The  maiden  became  known  to  all  men, 

Throughout  the  soft-bordered  lands  of  Banha. 
'  It  is  the  harp  of  Donnchadh  ! '  cried  every  one — 
The  slender,  thin  and  fragrant  tree. 

O'Brien's  harp  !  sweet  its  melody 

At  the  head  of  the  banquet  of  fair  Gabhrau ; 

Oh  !  how  the  pillar  of  bright  Gahhran  called  forth 

The  melting  tones  of  the  thrilling  chords." 

The  reply  of  the  Scottish  chief  is  as  follows  : — 

"  No  son  of  a  bright  Gaedhil  shall  get 

The  harp  of  O'Brien  of  the  flowing  hair ; 

No  son  of  a  foreigner  shall  obtain 

The  graceful,  gem-set,  fairy  instrument ! 

Woe  !  to  have  thought  of  sending  to  beg  thee, 
Thou  harp  of  the  chieftain  of  fair  Limerick — 
Woe  !  to  have  thought  of  sending  to  purchase  thee 
For  a  rich  flock  of  Erinn's  sheep. 

Sweet  to  me  is  thy  melodious  soft  voice, 

0  maid  !  who  wast  once  the  arch-king'sj 
Thy  sprightly  voice  to  me  is  sweet. 
Thou  maiden  from  the  island  of  Erinn. 


14  MUSICAL    INSTRUMENTS 

If  to  me  were  permitted  in  this  eastern  land 
The  life  of  the  evergreen  yew-tree, 
The  noble  chief  of  Brendon's  hill, 
His  hand-harp  I  would  keep  in  repair. 

Beloved  to  me — it  is  natural  for  me — 
Are  the  beautiful  woods  of  Scotland. 
Though  strange,  I  love  dearer  still 
This  tree  from  the  woods  of  Erinn.''^ 

In  the  Annals  of  Loch  Ce  it  is  stated  that  "  Aedh  (or  Hugh),  the  son 
of  Donnslebhe  O'Sochlachann,  vicar  of  Cunga,  a  professor  of  singing  and 
harp-tuning,  invented  a  tuning  (or  arrangement)  for  himself  that  had 
not  been  done  before  him,  and  he  was  a  proficient  in  all  arts  both  of 
poetry  and  engraving  and  writing,  and  of  all  the  arts  that  man  executes," 
died  in  1225.° 

1269.  Hugh  O'Finaghty,  a  learned  minstrel,  died.^ 

John  Clynn,  a  friar  of  the  Convent  of  Friars  Minor  of  Kilkenny,  in 
his  Annals  of  Ireland  (c.  1336),  refers  to  Camus  O'Caruill  as  a  "famous 
performer  on  the  tabor,  and  a  Phoenix  in  execution  on  the  harp,  and  so 
pre-eminently  distinguished  with  his  school  of  about  twenty  musicians, 
that,  though  he  could  not  be  called  the  inventor  of  stringed  musical 
instruments,  he  was  the  master  and  director  of  all  his  own  contem- 
poraries, and  superior  to  all  his  predecessors."  * 

1328.  The  Blind  MacCarroll,  whose  name  was  Mulrony,  the  chief  of 
the  minstrels  of  Ireland  in  his  time,  was  slain." 

1357.  Donslevy  MacCarroll,  a  noble  master  of  music  and  melody,  the 
best  of  his  time,  died.® 

1360.  Gilla-na-naev    O'Conmhaigh,    Chief    Professor    of    Music    in 

Thomond,  died.'^ 

1361.  Magrath  O'Finnaghty,  Chief  Musician  and  Tympanist  to  the 

Gil-Murray,^  died." 

'  Professor  Eugene  O'Curry,  to  whom  we  are  the  Rev.  M.  Kelly.     Of  poor  O'Caruill  and  his 

indebted  for  bringing  this    interesting  poem   to  j^upils  the  fate  was  melancholy.      They,  together 

light,  says  : — "  It  is  impossible  in  a  severe  literal  with  their  patron,  Lord  Bellingham,  were  cruelly 

translation   to   do   anything    like    justice   to   the  massacred. — Walker,  p.  123. 

fervour    and   beautiful    pathos    of   this   touching  ^  Annals, 

poem." — Lectures,  vol.  iii.  pp.  271,  272,  273.  ^  Ibid. 

''  O'Curry's  Lectures,  vol.  iii.  p.  264.  '  Ibid. 

^  Annals.  *  O'Connor,  O'Curry's  Materials,  p.  219. 

■'  Cambieusis  Eversus,  vol.  i.  p.  313,  edited  by  ^  Annals. 


THE    IRISH    HARP  15 

In  the  fortieth  year  of  Edward  ill.,  1367,  Lionel,  Duke  of  Clarence, 
Lord-Deputy,  held  a  famous  parliament  in  Kilkenny  when  an  act  was 
passed,  c.  15  of  which  is  as  follows: — "Also  whereas  the  Irish  Agents 
who  come  amongst  the  English,  spy  out  the  secrets,  plans,  and  policies 
of  the  English,  whereby  great  evils  have  often  resulted ;  it  is  agreed  and 
forbidden  that  any  Irish  Agents,  that  is  to  say,  pipers,^  story-tellers, 
babblers,  rimers,  mowers,  nor  any  other  Irish  Agent  shall  come  amongst 
the  EngUsh,  and  that  no  English  shall  receive  or  make  gift  to  such ;  and 
that  he  that  shall  do  so,  and  be  attainted,  shall  be  taken,  and  imprisoned, 
as  well  the  Irish  Agents  as  the  English,  who  receive  or  give  them  any- 
thing, and  after  that  they  shall  make  fine  at  the  King's  will ;  and  the 
instruments  of  their  agency  shall  forfeit  to  our  lord  the  King.""* 

1369.  John  MacEgan  and  Gilbert  O'Bardan,  two  accomplished  young 
harpers  of  Conmaicne,'  died.'' 

Although  Irish  minstrels  were  excluded  from  the  Pale,  an  exception 
was  made  in  the  case  of  one  individual  during  1376,  for,  by  letters 
jjatent  of  25th  October,  we  learn  that  as  "  Dowenald  O'Moghane,  an 
Irish  minstrel  residing  among  the  English,  had  constantly  remained  in  the 
fealty,  peace,  and  obedience  of  the  King  ;  and  that  he  had  inflicted  divers 
injuries  on  the  Irish  enemies,  for  which  reason  he  durst  not  approach 
near  them  ;  it  was  concluded  that  he  might  continually  reside  among  the 
English,  and  that  they  might  receive  and  entertain  him  notwithstanding 
the  statute."^ 

1379.  William,  the  son  of  Gilla-Ceach  MacCarroll,  the  most  eminent 
of  the  Irish  in  music,  died.*^ 

During  the  fourteenth  century  Ranulf  Higden  compiled  his  Poly- 
chronicon,  which  was  translated  by  John  Trevisa  in  1387.  If  Higden 
wrote  from  personal  knowledge,  and  not  after  having  perused  the  MS.  of 
Giraldus  Cambrensis,  the  following  statement  corroborates  that  writer 

'  Sir  John  Davies  says,  "minstrels." — A  Dis-  statutes  of  Kilkenny  were  revived  and  confirmed 

coverie  of  the  State  of  Ireland,  p.  214.  during  the  tenth  year  of  Henry  VII.,  1495. — Ibid., 

-  The  Statute  of  Kilkenny,  by  James  Hardiman,  pp.  216-235. 

pp.  55,  5S,  commimicated  by  G.  A.  G.  Cole,  Esq.  3  Dunmore,    County  Galway.  — O'Curry's  Lec- 

During  the  third  year  of   Henry  iv. ,   1402,  Lord  tures,  vol   i.  p.  xxix. 

Thomas  of  Lancaster,  his  second  son,  was  appointed  ''  Annals. 

Lieutenant  of  Ireland.     On  his  arrival  he  held  a  ^  Patent  Roll,  quoted  by  Hardiman,  Statute  of 

]iarliament,    "wherein   he   gave   new  life   to  the  Kilkenny, 

statutes    of   Kilkenny."— Davies,    p.    229.      The  ''  Annals. 


16  MUSICAL    INSTEUMENTS 

in  a  remarkable  manner  : — "  Irishmen  be  cunning  in  two  manner  instru- 
ments of  music,  in  the  Harp  and  Tymbre,  that  is  armed  with  wire  and 
strings  of  brass,  in  which  instruments,  tho  they  play  hastily  and  swiftly, 
they  make  right  merry  harmony  and  melody  with  those  tunes,  and 
warbles,  and  notes,  and  begin  with  be  molle,  and  play  secretly  under 
dim  sound  under  the  great  strings,  and  turn  again  unto  the  same,  so 
that  the  greater  part  of  the  craft  hideth  the  craft,  as  it  woud  seem  as 
though  the  craft  so  hid,  shoud  be  ashamed,  if  it  were  taken." ' 

John  of  Fordun,  a  Scottish  priest  who  visited  Ireland  some  time 
during  the  latter  end  of  the  fourteenth  century,  says  that  Ireland  was 
the  fountain  of  music  in  his  time,  from  whence  it  then  began  to  flow 
into  Scotland  and  Wales.  ^ 

About  the  close  of  the  fourteenth  century  (1395)  Eichard  ii.  spent  a 
considerable  time  in  Ireland.  During  the  stay  of  this  monarch  in  the 
Irish  capital  four  native  kings  submitted  to  him,  and  a  commodious  house 
in  Dublin  was  set  apart  for  their  entertainment.  Henry  Castide,  who 
was  ordered  to  reside  with  them  and  instruct  them  in  the  usages  of  the 
English,  informed  Froissart  that — "  When  these  kings  were  seated  at 
table  and  the  first  dish  served,  they  would  make  their  minstrels  and 
principal  servants  sit  beside  them,  and  eat  from  their  plates  and  drink 
from  their  cups.  They  told  me,  this  was  a  praiseworthy  custom  of 
their  country,  where  everything  was  common  but  the  bed.  I  permitted 
this  to  be  done  for  three  days ;  but  on  the  fourth  I  ordered  the  tables 
to  be  laid  out  and  covered  properly,  placing  the  four  kings  at  an  vipper 
table,  the  minstrels  at  another  below,  and  the  servants  lower  still. 
They  looked  at  each  other,  and  refused  to  eat,  saying  I  had  deprived 
them  of  their  old  custom  in  which  they  had  been  brought  up.  I  replied 
with  a  smile,  to  appease  them,  that  the  custom  was  not  decent  nor  suit- 
able to  their  rank,  nor  would  it  be  honourable  for  them  to  continue  it ; 
for  that  now  they  should  conform  to  the  manners  of  the  English ;  and 
to  instruct  them  in  these  particulars  was  the  reason  I  resided  with 
them,  having  been  so  ordered  by  the  King  of  England  and  his  council. 
When  they  heard  this  they  made  no  further  opposition  to  whatever 
I    proposed,  from    having   placed    themselves    under   the   obedience   of 

1  Bunting,  coll.  1809,  note,  p.  i.  -  This  statement  is  by  Walker,  p.  121,  but  is 

apparently  not  in  Scotichronicou. 


THE    lEISH    HAEP  17 

England,  and  continued  good-humouredlj  to  persevere  in  it  as  long 
as  I  staid  with  them."' 

It  is  stated  that  in  1395  a  harper  saved  the  life  of  Art  MacMun-ogh, 
an  uncompromising  opponent  of  the  English,  in  the  following  manner. 
The  lords  of  the  Pale  invited  him  to  a  banquet.  All  were  secretly  armed, 
while  MacMurrogh,  not  suspecting  treachery,  was  only  accompanied  by 
his  harper  and  one  attendant.  After  the  feast  the  minstrel,  seated  near 
a  window,  delighted  the  company  with  his  music ;  but  suddenly  he 
changed  his  notes  to  Rosg  Catha,  or  war-song,  for  which  he  was  repri- 
manded by  MacMurrogh,  and  ordered  to  play  only  festive  airs.  But  the 
harper  again  resumed  the  war-ode,  which  surprised  MacMurrogh,  who, 
becoming  indignant  at  the  disobedience  of  his  harper,  arose  from  the 
table  to  remonstrate  with  him.  But  perceiving  that  the  house  was 
surrounded  by  armed  men,  he  brandished  his  sword,  and,  cutting  his 
way  through  the  surrounding  forces,  mounted  his  steed  and  escaped 
with  safety.^ 

1396.  Mathew  O'Luinin,  Erenagh  of  Arda  (Fermanagh),  a  man  of 
various  professions,  and  skilled  in  history,  poetry,  music,  and 
[general]  literature,  died.^ 

1399.  Boethius  MacEgan,  a  man  extensively  skilled  in  the  Fenachus 
law  and  in  music,  and  who  kept  a  celebrated  house  of 
hospitality,  died.* 

1404.  Gilla-Dinvin  MacCurtin,  Ollamh  of  Thomond  in  Music,  died.' 

By  a  roll  of  the  thirteenth  year  of  Henry  vi.,  1435,  we  learn  that 
the  Irish  Mimi,  Clarsaghours  (harpers),  Tympanours,  Crowthores,  Ker- 
raghers,  Bymours,  Skelaghes,  Bards,  and  others,  contrary  to  the  statute 
of  Kilkenny,  went  among  the  English  and  exercised  their  arts  and 
minstrelsies  (minstrelsias  et  artes  suas),  and  that  they  afterwards  pro- 
ceeded to  the  Irish  enemies,  and  led  them  upon  the  king's  liege 
subjects." 

1490.  Finn  O'Haughluinn,  Chief  Tympanist  of  Ireland,  died.'^ 

From  1491  we  find  in  the  Accounts  of  the  Lord  High  Treasurer  of 
Scotland  a  number  of  interesting  entries,   showing   that  the  reigning 

1  Froissart,  Johnes's  trans.,  vol.  iv.  p.  431.  *  Ibid. 

-  Taffe's  Ireland,  quoted  by  Conran.  "Rot.    Pat.,    Hardiman's    Minstrelsy,   vol.    i., 

3  Annals.  note,  pp.  xviii.,  xix. 

■*  Ibid.  '  Annala. 


18  MUSICAL    INSTEUMENTS 

sovereign,  James  iv.',  himself  a  performer,  had  directed  payments  to  be 
made  to  persons  who  had  played  upon  the  Clareschaw  or  Irish  Harp.  In 
April  1501  payments  were  made  to  Pate  (Peter)  Harper  on  the  Clarscha, 
and  also  to  the  Ireland  Clarescha.  It  is  more  than  probable  that  Pate 
was  also  a  native  of  Ireland ; '  he  was  attached  to  the  court,  and  is 
mentioned  in  December  1501,  January  1501-2,  March  1502,  April  and 
October  1503,  January  1503-4,  and  January  1504-5.  Upon  the  last- 
mentioned  date,  his  son,  who  had  probably  played  before  the  king 
for  the  first  time,  is  also  referred  to.  Again  in  March  1505,  Pate 
received  xiiij  s.,  and  in  December  of  the  same  year  an  "  Irland 
Clarschaar  "  received  v  s.  In  April  "  Pate  harpar  Clarscha  "  and  his  son 
are  mentioned.  Pate  is  also  noticed  in  July  1505,  November  1506, 
March  1506-7,  and  April,  June,  and  July  1507.  During  1512  O'Donel, 
an  important  Irish  chief,  visited  Scotland,  and  on  his  departure,  July 
11th,  the  king  commanded  that  his  harper,  who  presumably  had  played 
before  him,  should  receive  vij  le. 

As  only  a  portion  of  the  record  has  been  printed,  the  writer  is  unable 
to  state  whether  Irish  harpers  were  attached  to  or  played  before 
the  Scottish  court  during  the  remainder  of  the  sixteenth  century, 
but  it  is  interesting  to  find  that  Irish  music  was  appreciated  by 
James,  who  was,  we  know,  accustomed  to  hear  Italian  minstrels, 
Luterers,  Fiddlers,  English,  Lowland,  and  Highland  harpers,  and  other 
skilled  musicians. 

Polydore  Virgil,  who  resided  in  England  during  the  first  half  of 
the  sixteenth  century,  states  "  That  the  Irish  practise  music,  and  are 
eminently  skilled  in  it.  Their  performance,  both  vocal  and  instru- 
mental, is  exquisite ;  but  so  bold  and  impassioned,  that  it  is  amazing 
how  they  can  observe  the  rules  of  their  art  amidst  such  rapid  evolutions 
of  the  fingers  and  vibrations  of  the  voice  ;  and  yet  they  do  observe  them 
to  perfection."  ^ 

In  Major's  Greater  Britain,  published  in  1521,  it  is  stated  that  the 
Irish  and  the  wild  Scots  were  pre-eminent  as  performers  on  the  Harp. 

Before    1534    Patrick    Finglas,   Chief   Baron    of   the   Exchequer   in 

'  It  may  be   remarked  that  "  Pate  harper  on       Clareschaw  "  is  also  mentioned, 
the  Harp,"  and  "  Pate  har|ier  on  the  Clarscha," 
were  both  retaineil  at  Court,  and  that  an  "Ersche  -  Cambrensis  Eversus,  vol  i.  p.  311. 


THEIRISHHAEP  19 

Ireland,  wrote  a  Breviat  of  the  getting  of  Ireland,  and  the  decline  of  the 
same,  in  which  he  recommended  "That  noo  Irish  Ministralls,  Rymers, 
Shannaghs  (Genealogists)  ne  Bards,  be  Messingers  to  desire  any  Goods 
of  any  Man  dwelling  wythin  the  English  Pale,  upon  Pain  of  Forfeiture 
of  all  ther  Goods,  and  their  Bodys  to  be  imprisoned  at  the  Kino-'s  Will."  ^ 

John  Good,  a  Catholic  priest  who  had  been  educated  at  Oxford, 
and  was  master  for  many  years  of  a  school  at  Limerick,  in  1566  wrote 
a  description  of  the  Irish,  in  which  he  says  :  "They  love  music  mightily, 
and  of  all  instruments  are  particularly  taken  with  the  Harp,  which 
being  strung  up  with  brass  wire,  and  beaten  with  crooked  nails,  is  very 
melodious.  They  use  the  bag-pipe  in  their  war  instead  of  a  trumpet." 
Camden,  who  published  in  1586,  gives  the  foregoing  quotations  from 
Good,  and  also  makes  some  statements  regarding  the  Irish  on  his 
own  authority,  one  being  as  follows  : — "  These  great  men  have  likewise 
their  particular  Historians,  to  chronicle  the  famous  actions  of  their  lives  ; 
Physitians  too,  and  Poets,  whom  they  call  Bards  ;  and  Harpers,  who 
have  all  of  them  their  several  estates  and  possessions  allowed  them ;  and 
in  each  territory  there  are  certain  particular  families  for  nothing  else  but 
these  employments  ;  for  instance,  one  for  Breahans,  another  for  Historians, 
and  so  for  the  rest,  who  take  care  to  instruct  their  children  and  relations 
in  their  own  respective  professions,  and  by  that  means  leave  always  one 
or  other  of  the  same  race  to  succeed  them."  - 

Vincentio  Galilei,  whose  work  on  Music  was  printed  in  1581,  writes 
as  follows  : — According  to  Dante  (born  1265)  the  Harp  was  brought 
to  Italy  from  Ireland  "  where  they  are  excellently  made,  and  in  great 
numbers,  the  inhabitants  of  that  island  having  practised  upon  it  for  many 
and  many  ages:  nay,  they  even  place  it  in  the  arms  of  the  kingdom, 
and  paint  it  on  their  public  buildings,  and  stamp  it  on  their  coin,  givincr 
as  the  reason  their  being  descended  from  the  royal  prophet  David.  ^ 
The  Harps  which  this  people  use  are  considerably  larger  than  ours, 
and  have  generally  the  strings  of  brass,  and  a  few  steel  for  the  highest 
notes,  as  in  the  clavichord.     The  musicians  who  perform  upon  it  keep 

1  Hibernica,  by  Walter  Harris,  p.  9S.      Finglas  Lyon    King-ot-Arms,    1542,   gives    tlie    arms   of 

was  Chief  Justice  of  the  King's  Bench  in  1534.  David,  King  of  Israel,  as  "  Az.  a  harp  or,"  and  the 

— Ibid.,  Preface.                                                       -  arms  of  the  King  of  Ireland  "  Az.  a  king  seated  im 

-  Camden's  Britannia.  a  throne  afronti,  holding  a  sceptre,  crowned  and 

"  It  may  be  remarkt-d  that  Sir  David  Lyndsay,  habited  proper.' 


20  MUSICAL    INSTEUMENTS 

the  nails  of  their  fingers  long,  forming  them  with  care  in  the  shape 
of  the  quills  which  strike  the  strings  of  the  spinnet,  etc.  I  had  a  few 
months  since  (by  the  civility  of  an  Irish  gentleman)  an  opportunity 
of  seeing  one  of  their  Harps,  etc."^ 

From  Holinshed,  who  published  in  1585,  we  learn  that  "Their 
noble  men,  and  noblemens  tenants,  now  and  then  make  a  set  feast, 
which  they  call  coshering,  whereto  flock  all  their  reteiners,  whom  they 
name  followers,  their  rithmours,  their  bards,  their  harpers  that  feed 
them  with  musike  :  and  when  the  harper  twangeth  or  singeth  a  song,  all 
the  companie  must  be  whist,  or  else  he  chafeth  like  a  cutpursse,  by 
reason  his  harmonie  is  not  had  in  better  praise."  ^ 

So  far,  all  those  who  are  known  to  have  noticed  the  Irish  Harp  have 
praised  the  instrument,  and  no  fault  has  been  found  with  the  performers. 
We  now,  however,  meet  with  a  writer — a  native  of  Ireland — who  is 
the  first,  and  indeed  the  only,  author  who  is  not  thoroughly  appreciative. 
Richard  Stanyhurst,  descended  from  a  family  who  had  resided  for  many 
generations  in  the  neighbourhood  of  Dublin,  wrote  in  1585  as  follows  : — 
"  The  harper  uses  no  plectrum,  but  scratches  the  chords  with  his  crooked 
nails,  and  never  marks  the  flow  of  his  pieces  to  musical  rhythm,  nor  the 
accent  and  quantity  of  the  notes ;  so  that,  to  the  refined  ears  of  an 
adept,  it  comes  almost  as  offensively  as  the  grating  of  a  saw."  ^     The 

1  The  whole  passage  is  given  in  Bunting's  coll.  Dr.    Lynch,    who    contrasts    the    estimate    of 

1809,  pp   24-25,  and  a  large  portion  will  also  be  Giraldus  of  the  performance  of  the  harpers  with 

found    in    Hunting's    coll.    1840,   chap.   iii.       The  that  of  Stanyhurst,  saj's :    "It   is  by  no   means 

statements   regarding  the  number  of  strings  are  surprising  that  the  same  music  should  be  relished 

confusiuL',  but  Sir  Samuel  Ferguson  was  evidently  by  some  and  disagreeable  to  others,  according  to 

under  the  impression  that  the  number,   i)resum-  their  dififereut  skill  or  taste  in  musical  science," 

ably  29,  might  be  an  error  for  ,30.  etc.      "But    perha))s   the    conflicting    opinion    of 

Giraldus  and  Stanyhurst  can  be  reconciled  if  we 
-  P.  45.     The  reader  is  requested  to  contrast       .    ,       •    .  ..   .i.      ijr        ..   ..■  •         i  ■  i, 

'  take  into  account   the  diiierent   times   in  which 

this  extr.act  with  the  statement  in  Walker,  note,         ,        ,■     j       t     ii     j  i  /->■     u       i     i      j 

they  lived.     In  the  days  of  Giraldus  Ireland  was 

"■       """  not  subdued;    her  Irish  kings  were  in  full  pos- 

3   Giraldus,    who,    as    we     have    shown,    was  session  of  their  power,  and  the  tones  of  joy  and 

able  to  appreciate  the  music  and  the  performance  mirth    predominated    in    her   music  ;    but   a    sad 

of  the  harpers,  says  that  "  those  very  strains  which  change  for  the  worse  had  come  over  her  before 

afford    deep   and   unspeakable   mental   delight   to  the  time  of  Stanyhurst,  and  the  airs  which  her 

those    who    have    skilfully   penetrated     into    the  musicians  then   attuned    to  the  harp   inv."irialily 

mysteries  of  the  art,  fatigue  rather  than  gratify  bieathe  a  certain  tone  of  sadness,"  etc.      "Stany- 

the  ears  of  others,  who  seeing  do  not  perceive  and  hurst's  attack,  moreover,  is  directed  against  rude 

hearing   do  not  understand ;    and   by  whom  the  harpers,   but  not  against   the   instrument   itself ; 

finest  music  is  esteemed  no  better  than  a  confused  and  Ireland  is  not  the  only  country  infested  by 

and    disorderly    noise,    and    will    be    heard    with  these    rude    performers."  —  Cambreusis   Eversus, 

uuwilliogness  and  disgust." — Bohn's  edition.  vol.  i.  [pp.  ;jl3-3l5. 


THE    IRISH    HAEP  21 

harpers  he  so  severely  criticises  were  indifferent  performers  who  played 
during  supper/ 

In  Stanyhurst's  time  harpers  of  eminence  would  have  been  attached 
to  the  households  of  the  great  nobles  and  chiefs.  He,  however, 
happened  to  meet  with  one  with  whom  he  was  pleased,  whom  he 
thus  notices  :  "  Crusius,  a  contemporary  of  our  own,  is  by  far  the  most 
eminent  harper  within  the  memory  of  man.  fie  is  entirely  opposed  to 
that  barbarous  din  which  others  elicit  from  their  discordant  and  badly 
strung  harps.  Such  is  the  order  of  his  measures,  the  elegant  com- 
bination of  his  notes,  and  his  observance  of  musical  harmony,  that  his 
airs  strike  like  a  spell  on  the  ears  of  his  audience,  and  force  you  to 
exclaim,  not  that  he  is  the  most  perfect  merely,  but  in  truth  almost 
the  only  harper."^  Dr.  Lynch,  when  quoting  this  author,  says  there 
never  was  a  time  when  Ireland  could  boast  of  only  one  distinguished 
harper,  and  many  eminent  performers  may  have  flourished  in  parts 
of  Ireland  which  Stanyhurst  did  not  visit. 

Dr.  Keating  complains  that  Stanyhurst  called  the  musicians  of 
Ireland  a  set  of  blind  harpers,  and  states  that  if  proper  inquiries  had 
been  made,  it  would  have  been  found  "that  for  one  musician  that  was 
blind  there  were  twenty  who  had  their  perfect  sight."  ^ 

Barnaby  Rich,  who  visited  Ireland  during  the  reign  of  James  i., 
says:  "They  (the  Irish)  have  Harpers,  and  those  are  so  reverenced 
among  the  Irish,  that  in  the  time  of  rebellion  they  will  forbear  to  hurt 
either  their  persons  or  their  goods."* 

Pretorius,  who  published  his  work  on  Musical  Instruments  in  1619, 
states  :  "  The  Irish  Harp  has  rough  thick  brass  strings,  forty- three  in 
number,  and  is  beyond  measure  sweet  in  tone." 

Bacon,  in  his  Sylva  Sylvarum,  published  in  1627,  after  his  death,  refers 
to  the  Irish  Harp,  which,  he  says,  "  maketh  a  more  resounding  sound  than 
a  Bandora,  Opharion,  or  Cittern,  which  have  likewise  wire  strings,  and 
no  instrument  hath  the  sound  so  melting  and  prolonged  as  the  Irish 
Harp." 

In  a  MS.  History  of  Ireland  [circa  1636)  in  the  Library  of  the  Royal 
Irish  Academy,  it  is  sta,ted  that  "  the  Irish  are  much  addicted  to  musik 

1  Bunting,  Coll.  1809,  p.  19  ^  History,  pp  xi.,  xii. 

-  Cambrensis  Eversus,  vol.  i.  p.  311.  *  Walljer,  p.  144. 


22  MUSICAL    INSTRUMENTS 

generally,  and  you  shall  find  but  very  few  of  their  gentry,  either  man  or 
woman,  but  can  play  on  the  harp  ;  alsoe  you  shall  not  find  a  house  of  any 
account,  without  one  or  two  of  those  instruments,  and  they  always  keep 
a  harper  to  play  for  them  at  their  meales,  and  all  other  times,  as  often 
as  they  have  a  desire  to  recreate  themselves,  or  others  which  comes  to 
their  houses,  therewith."  ^ 

M.  de  la  BouUaye  Le  Gouz,  who  travelled  in  Ireland  during  1644, 
states  that  the  inhabitants  "  are  fond  of  the  harp,  upon  which  nearly  all 
play,  as  the  English  do  upon  the  fiddle,  the  Scotch  upon  the  bagpipe,  etc. 
They  march  to  battle  with  the  bagpipes  instead  of  fifes ;  but  they  have 
few  drums."  ^ 

Dr.  Keating,  the  historian,  who  is  supposed  to  have  died  before  1644, 
wrote  some  fine  lines  in  praise  of  his  harper.  In  this  poem  he  asks,  Who 
is  it  that  plays  the  enchanting  music  that  dispels  all  the  ills  that  man 
is  heir  to  ?  and  thus  answers  the  query  : 

"Tadhg  O'Cobthaigh  of  the  beauteous  form, — 
The  chief  beguiler  of  women. 
The  intelligent  concordance  of  all  difficult  tunes, 
The  thrill  of  music  and  of  harmony.  "^ 

Nicholas  Pierce,  who  lived  previous  to  1640,  although  blind  is  stated 
to  have  been  not  only  the  first  master  of  the  instrument  of  his  time,  but 
a  composer  of  lamentations,  etc.* 

The  following  extracts  are  of  interest  as  showing  that  the  Irish 
Harp  was  occasionally  to  be  heard  in  England,  and  how  extremely 
difficult  it  was  to  become  a  master  of  the  instrument.  John  Evelyn 
was  competent  to  give  an  opinion ;  he  had  taken  lessons  upon  the 
Theorbo  and  Lute,  was  fond  of  music,  and  notices  some  of  the  finest 
performers  on  the  Welsh  Harp,  Violin,  Lute,  etc.,  of  his  time ;  his 
statements,  therefore,  regarding  the  merits  of  the  Irish  Harp,  no  longer 
to  be  heard,  are  of  value  : — 

"  1653-4,  20th  January. — Come  to  see  my  old  acquaintance  and  the 

'  Irish  Minstrelsy,  by  James  HardimaD,  vol.  i.  This  is  stated  by  T.  Moore,  in  a  note  to   "  The 

P-  '^3-  Legacy,"  to   have  been  written   by  O'Hallorau. 

2  Crofton    Croker's    translation,    Irish    Penny  The  writer  has  failed  to  verify  the  quotation. 
Journal,  p.  5  :  "  In  every  house  there  was  one  or 

two  harps  free  to  all  travellers,  who  were  the  ^  Curry  s  Lectures,  vol.  iii.  p.  215. 

more  caressed  the  more  they  excelled  in  music."  ^  Ibid.,  pp.  263-4. 


THE    IRISH    HARP  23 

most  Incomparable  player  on  the  Irish  harp,  Mr.  Clark,  after  his  travels. 
He  was  an  excellent  musician,  a  discreet  gentleman,  born  in  Devonshire 
(as  I  remember).  Such  music  before  or  since  did  I  never  hear,  that 
instrument  being  neglected  for  its  extraordinary  difficulty ;  but  in  my 
judgment  far  superior  to  the  lute  itself,  or  whatever  speaks  with 
strings."  ^ 

"1668,  17th  November. — When  dining  at  the  Groom  Porters,  I 
heard  Sir  Edward  Sutton  play  excellently  on  the  Irish  harp ;  he  per- 
forms genteelly,  but  not  approaching  my  worthy  friend,  Mr.  Clark,  a 
gentleman  of  Northumberland,  who  makes  it  execute  lute,  viol,  and 
all  the  harmony  an  instrument  is  capable  of:  pity  it  is  that  it  is  not 
more  in  use  ;  but  indeed  to  play  well  takes  up  the  whole  man,  as  Mr. 
Clark  has  assured  me,  who,  though  a  gentleman  of  quality  and  parts, 
was  yet  brought  up  to  that  instrument  from  five  years  old,  as  I  remember 
he  told  me."^ 

It  has  been  stated  that  "  when  lists  were  made  of  the  effects  or 
property  of  the  proscribed  adherents  of  James  ii.,  it  was  found  that  nearly 
all,  even  the  Anglo-Norman  families  of  the  Pale,  possessed  one  Irish 
harpe."' 

As  most  of  the  references  to "  the  Irish  Harp  or  Irish  harpers, 
down  to  the  seventeenth  century,  have  now  been  noticed,  and  it  has 
not  been  considered  necessary  to  refer  to  the  interesting  account  of 
noted  harpers  who  lived  during  the  seventeenth  and  eighteenth  cen- 
turies, printed  by  Bunting  in  his  coll.  1840,  further  than  hereafter 
to  notice  such  paragraphs  as  describe  their  methods  of  playing,  this 
portion  of  the  chapter  may  close  with  the  following  complimentary 
statement  by  Count  Hoghenski :  "  Les  Irlandois  sont  entre  tons  les 
peuples  ceux  qui  passent  pour  jouer  le  mieux  de  cet  instrument." — 
Article  'Harp'  in  the  Encyclopedie.'' 

1  Diary,  vol.  i.  p.  300.  but   has  failed.      It   is   possible  there  may  have 

2  Ibid.,  vol.  ii.  p.  39.  been   sume  statement  in  a  letter,  but  no  list   is 
^  Conran's  National  Music,  p  214.     The  writer       likely  to  have  been  made 

has   made  every  effort  to  verify  this   statement,  *  Walker,  note,  p.  122.     M.  Conran,  p.  174. 


24  MUSICAL    INSTKUMENTS 

REPRESENTATIONS,    METAL,    STONE,    ETC. 

The  earliest  representation  of  the  Irish  Harp  in  metal  appears  upon 
the  shrine  of  St.  Moedoc,  circa  eleventh  century,  preserved  in  the  Dublin 
Museum.  The  Harp,  which  is  of  small  size,  rests  upon  the  knees  of  the 
jierformer,  and  against  his  left  shoulder.  The  number  of  strings  is  of 
little  consequence ;  the  important  point  is  that  it  is  an  instrument  (to 
play  upon  which  both  hands  are  required,  the  left  for  the  treble,  and 
the  right  for  the  bass),  and  so  accurate  is  the  representation,  that  the 
manner  of  playing,  that  is  by  pulling  the  strings  by  the  nails,  is  clearly 
represented.  The  Harp  has  a  curved  fore-pillar,  which  expands  on  the 
outer  side,  at  a  short  distance  from  the  upper  termination,  and  also  from 
the  lower  end.^  The  back  of  the  box  is  curved  inwards,^  and  upon  the 
side  are  indents.  As  these  do  not  appear  upon  other  portions  of  the  plate, 
they  may  be  intended  to  represent  the  decoration  of  the  instrument.^ 

Another  representation  occurs  upon  the  shrine  of  St.  Patrick's  Tooth, 
1350,  also  preserved  in  the  Dublin  Museum.  Here  the  Harp,  which  is 
considerably  larger,  has  twenty-three  strings.  It  is  placed  against  the 
left  arm,  and  rests  neither  upon  the  knees  nor  upon  the  ground,  but  is 
apparently  suspended  by  a  strap,  which,  however,  is  not  represented. 
The  fingers  of  the  left  hand  of  the  performer  are  shown  as  pulling  the 
treble  strings,  those  of  the  right  the  bass  strings.  There  is  no  decoration 
upon  the  instrument ;  the  fore-pillar  is  curved.^ 

The  representations  of  the  Irish  Harp  upon  stone  are  of  interest,  but 
not  of  the  same  importance,  the  coarseness  of  the  material  and  natural 
decay  rendering  them  more  or  less  indistinct.  They  may,  however,  be 
seen  at  Ullard,  South  East  Cross  Monasterboice,  Durrow,  Castle  Dermot, 
Clonmacnois  and  Kells.* 

'  This  is  the  earliest  representation  of  what  Planche,  from  a  MS.  copy  of  Giraldus  Cam- 
may  be  termed  the  T  formation  of  fore-pillar  to  brensis,  illuminated  about  the  end  of  the  twelfth 
be  hereafter  referred  to.  century. 

,  ™,  ...  ,     i^i  L    J       TT  r  ,  *  Bunting,  in  coll.  1840,  p.  39,  gives  a  woodcut, 

'■  The  artist  no  doubt  had  a  Harp  so  formed  ,  ,     ,    ,        ,  ,     ,     ,      ,  ,,         ■   •     , 

,    ,        ,.  _,  .  ,,,         ,  ,    ■  but  so  bad  that  those  who  had  not  seen  the  original 

beiore  him.      ihis  curvature,  although  unusual,  is  ,,  ,  ,  ^     ,      ,        i-        • 

,       ,  frii.     ,_     ,      r\^    ,         r  X,     TT  would  suppose  the  performer  to  be  kneeling  m 

not  unknown.      The  back  of  the  box  of  the  Harp  ,  r     .   ■ 

in  the  Belfast  Museum,  to  be  hereafter  referred  .  . 


to,  is  slightly  curved. 


°  Communicated  by  J.  Romilly  Allen,  Esq.  : — 

"  Harps  are  represented,  on  the  knees  of  ecclesi- 

'  It  should  be   noticed   that   small   circles  are       astics,  on  several  of  our  ancient  stone  crosses,  of 

represented  on  the  Irish  Harp,  as  illustrated  in       the  eighth,  ninth,  and  tenth  centuries." — Petrie, 

the    History    of    British    Costume,    by    J.    R.       in  Bunting,  coll.  1840,  p.  42. 


< 
< 

X 


< 

>- 
a 
a: 

UJ 
X 
H 


UJ 
Q. 
O 
CH 

a. 


HARP      JERPOINT      ABBEV.     KILKENNY. 


RECUMBANT      EFFIGY      OF    AN     IRISH      CHIEF 
WITH     A     HARP.    JERPOINT    ABBEY.    KILKENNY 


THE    lEISH    HAEP  25 

Perhaps  the  latest  representation  of  the  Harp  in  stone  is  that  which 
appears  upon  a  monument  in  Jerpoint  Abbey,  Kilkenny. 

This  piece  of  sculpture  is  most  interesting.  The  sculptor  unques- 
tionably had  a  Harp  (probably  that  which  had  belonged  to  the  chief) 
before  him  which  he  found  it  desii'able  to  reproduce  on  a  much 
reduced  scale,^  as  a  full  size  representation  would  have  interfered  with 
the  design.  The  Harp  is  placed  upon  the  back  of  the  box,  as  was  no 
doubt  usual  when  not  in  use,  and  rests  beside  the  right  thigh  of  the 
recumbent  effigy.  The  instrument  has  a  somewhat  depressed  form ; 
that  is,  from  the  back  of  the  box  to  the  upper  portion  of  the  fore- 
arm the  measurement  is  not  so  great  as  upon  the  existing  specimens ; 
the  fore-pillar,  in  fact,  scarcely  rises  above  the  effigy.  The  box,  which 
is  a  truncated  triangle  in  form,  has  the  projecting  block  at  the  lower  end 
and  the  raised  string  hole  band,  which  terminates  upon  either  side  at 
the  upper  end  in  semicircular  curves.  At  the  lower  extremity  this 
raised  portion  is  carried  round  the  fore-pillar,  where  it  joins  the  pro- 
jecting block.  The  sounding-board  is  flat,  and  there  are  no  sound- 
holes.  The  fore-pillar  is  curved  and  has  the  T  formation,  which 
commences  at  a  greater  distance  than  is  usual  from  either  extremity.^ 
The  harmonic  curve  has  no  hump,  and  if  it  ever  projected  beyond  the 
junction  with  the  fore-pillar,  that  portion  has  been  broken  off  or  has 
decayed.  The  metal  band  for  the  pegs  is  represented,  and  forms  a  single 
curve.  The  stone  is  much  decayed,  and  there  is  not  a  vestige  of  decoration. 
The  Harp,  excepting  that  it  has  not  the  hump  on  the  harmonic  curve, 
resembles  the  Lament  Harp  in  the  National  Museum  at  Edinburgh; 

The  effigies  probably  belong  to  the  early  portion  of  the  fifteenth 
century.  A  portion  of  the  inscription  remains,  and  from  it  we  gather 
that  the  male  figure  was  intended  to  represent  William  O'Banahan. 
The  panels  which  now  support  the  effigies  belong  to  two  periods,  late 
fifteenth  and  sixteenth  centuries.^ 

In  the  Image  of  Ireland,  by  John  Derricke,   1581,  there  is  a  plate, 

'  Measurement:   Extreme  length,  1  ft.   1|  in.;  moat  obligingly  visited  Jerpoint  for  the  purpose 

from  back  of  box  to  highest  point,  6  inches.  of  examining  the  monument  and  deciphering  the 

^  This  faulty  construction  is  to  be  found  upon  inscription, 
the  Lament  Harp.  The  late  Mr.  George  V.  Du  Noyer,  who  notices 

'  For  these  particulars  the  writer  is  indebted  the  monument  and  gives  an  illustration  of  the 

to    Richard   Langrishe,   Esq.,    F.R.I.A.,   and   the  Harp,   supposes  the   name  to  be  O'Habrahan. — 

Rev.  Canon  Hewson,  who  at  considerable  trouble  Communicated  by  T.  H.  Longfield,  Esq. 

D 


26 


MUSICAL    INSTEUMENTS 


representing  an  Irish  Chief,  and  others,  seated  upon  the  ground  at  meat. 
A  "  bard "  is  reciting,  or  singing,  while  a  minstrel  plays  upon  a  large 
Harp.  The  illustration  is  rude  and  grotesque,  but  is  interesting.  (See 
p.  6.)  The  harper  is  also  seated  on  the  ground,  and  pulls  the  strings  with 
his  finger-nails,  which  are  long  and  somewhat  crooked.^      (See  Fig.  i.) 


Fig.  I. 


Fig.  II. 


Pretorius,  who  published  his  work  on  Musical  Instruments  at 
Wolffenbilttel  in  1619,  gives  a  representation  of  an  Irish  Harp.  The 
artist  who  worked  for  him  neglected  to  reverse  his  drawing,  but  this 
defect  has  been  remedied  in  the  reproduction.  The  peculiar  peak 
which  is  shown  upon  the  upper  portion  of  the  harmonic  curve,  quite 
unlike  the  Scotch  hump,  is  exactly  similar  to  that  which  occurs  upon  the 
Castle  Otway  and  the  O'Ffogerty  Harps.  The  metal  band  through  which 
the  pegs  pass  has  a  double  curve,  a  form  which  is  scarcely  traceable  upon 
Irish  ^  or  Highland  Harps.     The  sounding-board  is  convex,  as  described 


'  This  is  a  conventional  drawing.  The  artist 
certainly  had  not  a  Harp  before  him,  and  he  did 
not  know  that  the  Harp  should  be  strung  upon 
the  left  side  and  held  against  the  left  shoulder. 


The  engraver  reversed  the  drawing,  so  the  artist's 
work  is  proper!}*  represented. 

-  On  the   Kildare   Harp  there  is  a  very  slight 
downward  curve  at  the  treble  end  of  the  band. 


THE    lEISH    HAEP  27 

by  Bacon  as  occurring  upon  Irish  Harps  in  his  time.^  The  curved  fore- 
pillar  has  the  T  formation  ;  the  metal  bands  attaching  it  to  the  harmonic 
curve  are  shovrn.      The  Harp  has  forty-three  strings.     (See  Fig.  ii.) 

In  the  Pai'liamentary  Gazetteer  there  is  a  coloured  representation  of 
the  Arms  of  Ireland,  with  a  certificate  dated  the  5th  March  1844,  by 
Sir  William  Betham,  then  Ulster  King-at-Arms,  in  which  he  states  that 
the  Arms  there  shown  appear  in  a  manuscript  volume  in  his  office  of 
the  reign  of  King  Henry  viii.  or  thereabouts.  The  Harp  is  of  the 
Celtic  form  with  a  lion's  head  at  the  junction  of  the  harmonic  curve  and 
fore-pillar.^  The  Harp  may  be  seen  upon  the  coins  of  Henry  viii.,  also 
upon  the  Arms  of  Ireland  which  appear  upon  a  map,  1567,^  and  the 
Seal  of  the  Customs  and  Port  of  Carrickfergus,  1605.*  It  is  also 
represented  upon  the  Arms  of  the  Borough  of  Belturbet,  1613.* 

DJESCRIPTION   AND   CONSTRUCTION 

The  Irish  are  known  to  have  possessed  at  least  two  kinds  of  Harp. 
The  smaller  were  used  by  churchmen,"  the  larger  by  harpers.  Some 
of  the  Harps  are  supposed  to  have  had  two  rows  of  strings.^  If  so, 
the  form  was  abandoned  ;  for,  with  the  exception  of  the  Dalway  Harp, 
which  has  a  second  row  of  seven,  there  is  no  instrument  extant  with  more 
than  one  row  of  strings.  In  fact,  as  the  Harp  was  strung  with  brass 
wire  in  the  bass,  and  thin  steel  wire  in  the  treble,  the  tension  of  two 

^  "  An  Irish  Harp  hath  open  air  on  both  sides  strument,  most  probably  a  Harp,  was  in   use   in 

of  the  strings  :  and  it  hath  the  concave  or  belly  Ireland.     On  one  occasion  an  abbot  carried  one 

not   along    the    strings,  but    at   the  end  of   the  of  these  at   his  girdle  from  Clare  to   Cashel. — 

strings." — Sylva    Sylvarum,    Bacon  ;    Spedding's  O'Curry's   Lectures,   vol.    iii.    pp.  2fi2,  263,  333. 

ed.,  vol.  ii.   pp.   146-2'23.      Communicated  by  E.  Some  centuries  later  Harps  w  ith  eight  strings  were 

Alabaster,  Esq.  represented  upon  some  of  the  ancient  sculptured 

^  A    representation    of    the    Arms    and    Crest  stones  in  Scotland. 
appeared    in    the    E\'ening    Telegraph,    Bublin,  "  Bishops  and  Abbots  and  holy  men  in  Ireland 

23rd  September  1S99.  were  in  the  habit  of  carrying  their  harps  with  them 

'  State  Papers  of  Henry  viii.,  vol.  ii.      lucor-  in  their  peregrinations,  and  found  pious  delight 

rectly  represented  in  Bunting's  coll.  1840.  in  playing  upon  them.      In  consequence  of  this, 

^  Figured  in  the  Ulster  Journal  of  Archaeology,  St.  Kevin's  harp  was  held  in  great  reverence  by 

vol.  i.  p.  42.    This  is  perhaps  the  only  representa-  the  natives,  and  to  this  day  is  considered  a  valu- 

tion  of  a  Harp  in  Ireland  with  a  distinct  "hump  "  able  relic,  possessed  of  great  virtues." — Giraldus 

on  the  harmonic  curve.     The  engraver  may  have  Cambrensis,   Bohu's  edition,  p.   128.      St.   Kevin 

been  Scotch,  or  the  matrix  may  have  been  engraved  (Coemgen)    died    3rd    June    618,    and    Giraldus 

in  Scotland.     The  form  is,  as  far  as  we  can  learn,  visited  Ireland  in  1185,  so  it  is  possible  that  the 

peculiar  to  the  Highlands.  statement  may  be  correct. 

'  Ibid.,  p.  111.  7  This  is  Bunting's  opinion,  see  coll.  1809,  note, 

''  As  early  as  815  a  portable  eight-stringed  in-  pp.  3,  23,  24. 


28 


MUSICAL    INSTEUMENTS 


1  Ledwich    says    33,    ranaing    from    C 
Tenor  to  D  in  Alt. — Antiquities,  p.  254. 

-  The  Dalway  Harp  has  this  number  in  a  row. 

■^  Noticed  by  Giraldus  Cambrensis  about  11S8, 
also  in  the  thirteenth  century,  in  Higden's  Poly- 
chronicon,  and  by  Dante,  again  in  1566  by  Good, 
in  15S1  by  Galilei,  In  1585  by  Stanyhurst,  and 
by  Lynch  before  1680. 

■*  Noticed  during  the  thirteenth  century  by 
Dante,  and  in  1581  by  Galilei.  Iron,  bronze,  and 
silver  strings  for  musical  instrumeuts  were  manu- 
factured in  Ireland  at  a  remote  period,  and  are  nieu- 


rows  of  strings  would  have  been   such 

as  to  have  necessitated  an  unusual  and 

\     undesirable  thickness  of  sounding-board, 

j^  which  would,  perhaps,  have  diminished 

the  vibration. 

The  smaller  Harp  had  thirty,  or 
even  fewer,  strings,  the  larger,  from 
thirty-four^  to  forty-five.^  They  were 
of  brass  wire  ^  in  the  bass,  and  of  thin 
steel  wire*  in  the  treble.* 

The  box  or  trunk  of  the  Ancient 
Harp  was  usually  in  the  form  of  a 
truncated  triangle,  and  was  invariably 
constructed  out  of  a  solid  piece  of 
timber,  which  was  hollowed  out  from 
the  back  so  as  to  form  the  sides,  ends, 
and  sounding-board,  the  cavity  being 
covered  at  the  back  by  a  board  (see 
illustration).  "^ 

The  sounding  -  board,  which  had 
generally  sound-holes,'^  varied  consider- 
ably in  thickness,  that  of  the  Harp 
in  Trinity  College  being  rather  less 
than  a  quarter  of  an  inch,  while  that 
of  the  Castle  Otway  Harp  varies  from 
one-half  to  three-quarters  of  an  inch. 

The  sounding-board  at  an  early 
period  was  probably  perfectly  flat,  and 
the  sides  of  the  box  of  the  same  depth 

the  tioned  in  a  poem  of  the  early  part  of  the  twelfth 
century,  which  O'Currj'  believed  to  be  several 
centuries  earlier. — Lectures,  vol.  iii.  ]ip.  223-24. 

'  The  writer  regrets  that  the  number  of  steel 
strings  have  not  been  noticed  by  any  writer. 
They  probably  varied. 

"  The  illustration  shows  the  back  of  the  Castle 
Otway  Harp.  The  projecting  block  has  been 
added  by  the  writer,  as  that  portion  of  the 
instrument  is  inserted  in  a  stand. 

'  Dr.  Lynch  says.  Through  these  boles  the 
pegs  attached   to   the  strings  were  passed  when 


THE    IIJISH    HAEP 


29 


throughout.  Bacon,  who  notices  the  instrument,  states  that  "  an  Irish 
harp  hath  open  air  (sound-holes)  on  both  sides  of  the  strings,  and  it 
hath  the  concave  or  belly,  not  along  the  strings,  but  at  the  end  of  the 
strings,"  i.e.,  as  he  says,  "across  the  strings."'  This  is  exactly  what 
is  shown  in  the  illustration  already  noticed,  reproduced  from  Pretorius's 
work  of  1619,  and  it  should  be  remarked  that  this  representation  shows 
the  side  of  the  box  much  deeper  at  the  upper  extremity  than  at  the 
lower  termination,  as  was  then  customary.  Later  on  in  the  seventeenth 
century,  the  sounding-board  was  made  to  curve  both  along  and  across 
the  strings,  and  the  depth  of  the  sides  of  the  box  varied,  being  occa- 
sionally deepest  at  the  centre,  and  usually  shallowest  at  the  lower 
termination. 

The  form  of  the  lower  extremity  of  the  sounding-board  also  varied. 
Originally  it  was  probably  a  straight  line,  but  during  the  seventeenth 
century  the  termination  at  either  side  of  the  projecting  block  took  the 
form  of  semi-circular  curves,  more  or  less  varied.  There  was  visually  a 
raised  band  dividing  the  sounding-board  longitudinally,  which  was 
pierced  with  holes  for  the  strings.  Above,  or  surrounding  the  string- 
holes,  pieces  of  metal,  more  or  less  ornamented,  called  the  "shoes  of 
the  strings,"  were  attached  to  prevent  the  wire  strings  from  cutting 
the  sounding-board.^     A  number  of  these  are  here  represented. 


Nos.  1,  2,  3,  ami  4  on  the  Harp,  Trinity  College,  Dublin.     No.  5  on  tlie  Kildare  Harp. 


/ —     '^P     ' — X 
Same  scale.     Nos.  6,  7,  and  8  on  the  Harp  in  Dublin  Museum.     No.  9  ou  the  Downhill  Harp. 


new  strings  were  required.  Some  harps  have 
cavities  in  the  back  which  act  as  sound-holes, 
and  must  also  have  been  used  for  stringing  the 
instruments. 

'  Sylva     Sylvarum,     Bacon  ;     Spedding's    ed., 


vol.  ii.  pp.  146-223. 

^  The  strings  were  attached  to  small  pieces  of 
wood,  which  jirevented  them  from  being  drawn 
through  the  string-holes. 


30  MUSICAL    INSTEUMENTS 

A  portion  of  the  box  projected  from  the  lower  extremity  several 
inches  ;  this  had  a  cavity,  into  which  the  lower  portion  of  the  curved 
fore-pillar  was  inserted.  The  upper  portion  of  the  box  had  also  a 
cavity,  into  which  one  end  of  the  harmonic  curve  fitted. 

The  harmonic  curve  was  furnished  with  metal  bands,  on  either 
side,  of  the  same  curved  form  as  the  wood,  each  with  a  series  of  holes, 
through  which  the  tuning-pegs  passed.  These  bands,  which  were,  no 
doubt,  intended  to  strengthen  this  portion  of  the  instrument,  were 
occasionally  ornamented,  and  almost  invariably  formed  single  curves. 
The  tuning-pegs,  generally  of  brass,  also  frequently  ornamented,  were 
angular  at  the  right  end,  and  perforated  at  the  left ;  these  were  inserted 
on  the  right  side,^  and  the  strings  attached  to  the  portions  that  projected 
from  the  left  side.  There  were  no  nuts  or  straining-pegs,  but  when  the 
tuning-pegs  were  firmly  placed  and  the  strings  properly  adjusted,  it  is 
probable  that  the  strings  were  then  very  slightly,  if  at  all,  ofi"  the  plane. 

The  harmonic  curve  was  originally  constructed  out  of  one  piece  of 
wood.  Into  a  cavity  near  the  end,  the  upper  portion  of  the  fore-pillar  was 
inserted ;  the  tension  of  the  strings  caused  the  harmonic  curve  to  lean 
towards  the  left  side,  to  counteract  which  metal  straps  or  bands  were 
sometimes  attached  to  the  right  side  of  the  harmonic  curve  and  to  the 
fore-pillar.^  A  similar  strengthening  may  be  seen  on  the  Lamont  Harp 
and  on  the  illustration  in  Pretorius's  work.  A  most  remarkable  Irish 
example  occurs  amongst  the  brass  mountings  found  at  Ballinderry,  and 
will  be  hereafter  described  (p.  63).  During  the  seventeenth  century  the 
artificers  commenced  to  carry  the  fore-pillar  higher  than  was  originally 
the  practice,  the  upper  portion  then  forming  part  of  the  harmonic  curve. 
The  remaining  portion  of  the  harmonic  curve  was  mortised  into  it,  both 
portions  being  held  together  by  the  metal  bands  on  either  side  through 
which  the  tuning-pegs  passed. 

The  fore-pillar  was  more  or  less  curved,  and  had  for  a  considerable 
portion  upon  either  side  of  the  outer  curve  a  projection,  the  section  taking 
the  form  of  the  letter  T.  When  this  formation  was  made  to  commence 
a,nd  terminate  near  to  either  extremity  of  the  fore-pillar,  an  exceptionally 

^  By   the  right   side   is    meant   that   which  is  curve)  is  coated  on  both  sides  with  brass  plates, 

nearest  the  right  hand  when  the  Harp  is  being  which    connect   it   elegantly    with   the    bowliUe 

played  upon.  pillar." — Cambrensis  Eversus,  Dr.  John  Lynch. 

2  "  The   end   of   the    curved    neck    (harmonic 


THEIEISHHAEP  31 

strong  arm,  able  to  withstand  the  tension  of  the  strings  towards  the 
left,  was  the  result.  When  the  fore-pillar  is  much  curved,  it  may 
occasionally  be  found  slightly  shortened  by  the  direct  tension  of  the 
strings. 

The  correct  Irish  names  for  the  different  portions  of  the  Harp  are 
given  by  O'Curry  ^  as  follows  :— 

Crann  Gleasta  .         .         .  Tuning  Key.^ 

Corr         .....  Harmonic  Curve. 

Lamhchrann    ....  Front  Pillar. 

Com         .....  Belly,  or  Sound-Board. 

Bunting  does  not  give  the  Irish  for  "  Tuning  Key,"  but  he  gives 
Crunatted,  for  the  shoe  of  the  strings,  i.e.  the  piece  of  brass  on  the  sound- 
board, through  which  the  strings  pass ;  Aufhoirshnadhaim,  for  the 
wooden  pegs  to  which  the  strings  are  fastened ;  Uinaidhin  ceangal,  for 
the  pin,  or  jack,  that  fastens  the  wire  to  the  Harp.^  O'Curry  gives 
Trom-Theda  for  the  heavy  strings,  and  Goloca  for  the  light  strings.'* 

That  great  care  was  bestowed  upon  the  construction  of  the  Irish 
Harp  is  shown  from  a  poem  written  about  1640  by  Pierce  Ferriter  of 
Ferriter's  Cove,  concerning  a  Harp  which  was  presented  to  him  by 
a  Roscommon  friend,  the  following  portion  of  which,  translated  by 
O'Curry,  the  reader  may  find  of  interest. 

"  The  key  of  music  and  its  gate, 

The  wealth,  and  abode  of  poetry  ! 
The  skilful  neat  Irishwoman, 
The  richly  festive  moaner. 

"  Children  in  dire  sickness,  men  in  deep  wounds, 
Sleep  at  the  sounds  of  its  crimson  board  * ; 
The  merry  witch  has  chased  all  sorrow, 
The  festive  home  of  music  and  delight. 

'  Lectures,  vol.  iii.  p.  256.  ^  Bunting,  coll.  1840,  pp.  20-36.     As  O'Curry 

^  The   handle  was   of  wood   or  horn. — Lynch.  has  condemned  Bunting's  Irish  terms,  and  under- 

Amongst  the  Collection  of  Antiquities  on  view  at  taken    to    correct    them    (which    apparently    he 

Belfast   in   1852   were   two   Harp   keys   made    of  neglected  to  do),   these   may  not  be  accurate. — 

bronze.      One   of  these  was   exhibited   by  T.   R.  Lectures,  vol.  iii.  p.  302. 

Murray,  Esq.,  Edenderry,  Co.  Meath.     The  other,  4  ,,  . ,          ^.r. 

from  a  crannog,  Monalty  Lake,  was  exhibited  by 

E.  P.  Shirley,  Esq.,  Lough  Fea,  Carrickmacross. —  ^  Harps  that  are  extant  have  considerable  traces 

Descriptive  Catalogue.  of  painting,  staining,  and  gilding. 


32  MUSICAL    INSTEUMENTS 

"  It  found  a  Cor '  in  a  fruitful  wood  in  [Mugh]  Aoi  ^ ; 
And  a  Lamh-chrann  ^  in  the  fort  of  Seantraoi, — 
The  rich  sonorous  disconrser  of  the  musical  notes ; 
And  a  comely  Com'''  from  Eas  dd  Ecconn.^ 

"  It  found  MacSithduill  to  plan  it, 

It  found  Gathal  to  be  its  artificer, — 

And  Beannglan, — great  the  honour, — 

Got  [to  do]  its  fastenings  of  gold  ^  and  its  emblazoning. 

"  Excellent  indeed  was  its  other  adorner  in  gold, 
Farthalon  More  MacCathail, 
The  harp  of  the  gold  and  of  the  gems. 
The  prince  of  decorators  is  Parthalon."' 

We  find  the  wood  for  the  instrument  was  brought  from  three 
distinct  districts.  An  artist  designed  it.  A  woodworker  or  carpenter 
made  it.  An  artificer  either  made  or  suppHed  the  gold  fastenings  and 
emblazoned  it,  and  a  decorator  finished  the  instrument. 

Dr.  Lynch,  who  gives  a  very  accurate  and  minute  description  of 
the  Irish  Harp  of  the  early  portion  of  the  seventeenth  century,*  states 
that  the  neck  (harmonic  curve)  and  fore-pillar  were  ornamented  with 
varied  and  exquisite  sculpture,"  also  that  the  trunk  was  generally  made 
of  yew  or  sallow.^"  The  Harps  had  frequently  the  makers'  names  or 
inscriptions  upon  them.  Lynch  notices  one  of  the  latter  which  a  native 
of  Cashel  had  carved  upon  his  Harp  after  the  country  had  been  overrun 
by  the  English,  which  runs  as  follows  : — 

1  Harmonic  curve.  to  be  Cromwell's  soldiers)  in  many  places  vent 

-  In  the  plains  of  Roscommon.  their   vandal  fury   on   every   Harp   which   they 

3  Fore-pillar.  meet,  and  break  it  to  pieces.     For  Ireland  loved 

4  Sounding-board  (box).  ^^^  ^"•'"P'  ^"'^  ^^'^"  '*  ^^^  banished  from  every 
s  t:.  11  X  T>  11  1.  T^  1  "''^^  country  she  clung  to  it  with  a  fonder  affec- 
°  Falls  of  Ballyshannon,  Donegal.  ..         -j.  .       ,        , 

tion  ;  it  was  quartered  on  her  national  arms  ;  its 

<■'  These   fastenings  may  have  been   those   for  ^^gj^,  ^^^  ^^^  delight."— Cambrensis  Eversus. 

connecting  the    harmonic    curve   with   the  fore-  9  Unfortunately  the  Dalway  Harp  is  the  only 

P        ■  specimen   of   the  period  extant.      That   this   dis- 

7  Lectures,  vol.  iii.  pp.  257-8.  appearance  of  the  splendidly  decorated  Ancient 

*  His  reason  for  his  minute  description  is  here  Harps  cannot  altogether  be  attributed  to  natural 

given  : — "  It  may  not  be  by  any  means  a  useless  decay  is  too  true.     Lynch '3  statement  regarding 

labour,  if  I  succeed  in  describing  accurately  for  their  destruction  has  been  given  in  the  previous 

my  readers  the  form  of  the  Harp,  lest  it  should  note. 

be  involved  in  that  universal  ruin,  which  I  fear  i'  We  know  that  those  of  a  later  date  were 

nothing  but  the  arm  of  God  alone  can  now  avert  most  commonly  made  of  red  sallow,  white  sallow 

from  my  country.     The  precaution  is  the  more  or  black  sallow  from  the  bog,  but  the  box  of  the 

necessary,  as  some  barbarous  marauders  (supposed  Kildare  Harp  is  supposed  to  be  of  yew. 


THEIRISHHAEP  33 

"  Cur  lyra  funestos  edit  percussa  sonores  1 
Scilicet  amissum  fors  diadema  gemit.''^ 

This  writer  states  that  in  his  own  days  "  Father  Robert  Nugent  made  a 
very  considerable  improvement  in  the  Harp  by  an  invention  of  his  own. 
He  enclosed  the  open  space  between  the  trunk  (sounding-board)  and  the 
upper  part  of  the  Harp  (harmonic  curve)  with  little  pieces  of  wood,  and 
made  it  like  a  box ;  leaving  on  the  right  side  of  the  box  a  sound-hole, 
which  he  covered  with  a  lattice-work  of  wood,  as  in  the  clavichords.  On 
each  side  he  then  arranged  a  row  of  chords,  and  thus  increased  to  a  great 
degree  the  melodious  power  of  the  Harp."" 

Another  improver  of  the  Harp  was  Nicholas  Pierce  of  Clonmaurice, 
who  lived  before  1640.  He  added  more  wires  to  the  instrument  than 
it  had  at  any  previous  period.'  Unfortunately,  of  the  number  of  strings 
we  have  no  record. 

The  duration  of  time  during  which  the  Celtic  Harp,  the  box  of 
which  was  formed  out  of  a  solid  block,  remained  a  serviceable  instrument 
was  limited  by  the  power  of  the  sounding-board  to  resist  the  tension 
of  the  strings.  The  harmonic  curve  and  fore-pillar  could  be  replaced  if 
damaged,  and  although  the  beauty  of  the  instrument  was  largely  owing  to 
the  form  of  the  harmonic  curve  and  fore-pillar,  the  purity  and  sweetness 
of  tone  was  mainly  due  to  the  construction  of  the  box,''  which,  musically 
speaking,  was  the  most  important  portion  of  the  instrument.  It  might 
be  replaced  if  worn  out  or  injured,  but  the  tone  would  not  then  be  the 
same.  That  the  Irish  and  Scotch  made  use  of  a  form  of  unusual  strength 
is  undeniable,  but  was  the  tone  of  an  instrument,  the  box  of  which  was 
cut  out  of  a  solid  block,  also  superior  ?  If  it  was  not  superior,  why  was  it 
universally  so  constructed  ?  It  cannot  be  supposed  that  the  Irish  were 
unaware  that  the  box  could  be  constructed  of  several  pieces,  or,  imless 
the  use  of  glue  was  unknown,  that  the  Irish  artificers  were  incapable  of 

'  Wliicb    Kelly,    Dr.    Lynch's    tniuslator    and  second  row  of  seven  strings,  to  be  one  of  Nugent's 

editor,  thus  renders  : —  Harps ;  but  the  writer  does  not  think  this  possible, 

"Why  breathes  my  Harp  the  ever-mournful  strain?  the  harmonic  curve  shows  no  appearance  of  having 

It  mourns  the  long-lost  gem,  the  fall  of  Erin's  reign  ! "  been  joined  to  a  box  in  the  manner  described. 

^  Cambrensis    Eversus.       There    is   no    known  3  Q'Curry's  Lectures,  vol.  iii.  pp.  263-64. 

specimen  of  Nugent's  improved  Harp.     As  Lynch  *  The  oldest  specimens  of  the  Welsh  Harp  the 

must  have  been  familiar  with  it,  his  description  writer  has  seen  had  sounding-boards,  the  grain  of 

may  be  accepted  as  accurate,   but  it  is  unintel-  which  ran  along,  not  across,  the  strings,  although 

ligiWe.     His  editor  and  translator,  the  Rev.   M.  the    bodies    resembled    those    of    the    eighteenth 

Kelly,  supposes  the  Uahvay   Harp,  which  has  a  century  French  Harps. 


34  MUSICAL    INSTEUMENTS 

building  up  a  box.  Yet  amongst  the  existing  specimens  we  only  find 
Harps  with  built-up  boxes  that  belong  to  a  comparatively  recent  period. 

Small  Harps,  such  as  that  represented  upon  the  monument  at 
Jerpoint,  with  flat  sounding-boards  and  raised  string  bands,  must  have 
withstood  the  tension  of  the  strings  for  a  lengthened  period,  and  the 
Highland  specimens  give,  perhaps,  the  most  reliable  clue  as  to  the  dura- 
tion of  instruments  so  formed.  An  examination  of  these  Highland 
Harps  shows  that,  although  the  sounding-boards  in  both  instances  have 
been  raised  or  drawn  up  by  the  tension  of  the  strings,  were  it  not  for 
the  ravages  of  the  wood-worms,  they  would  now  be  serviceable  as 
musical  instruments,  although  they  may  have  been  strung  and  occasionally 
played  upon  for  two  centuries  or  more.^  These  Highland  Harps  are  small, 
the  larger  Irish  instruments  of  a  later  period,  with  thirty,  if  not  more 
numerous,  strings  do  not  appear  to  have  lasted  so  long.  The  Downhill 
Harp  was  in  use  for  one  hundred  and  ten  years,  and  probably  the 
Kildare  Harp  and  certainly  the  Castle  Otway  Harp  for  a  longer  period. 

When  the  sounding-board  began  to  yield  to  the  tension  of  the 
strings,  bands  of  metal  were  placed  across  the  sounding-board  and 
attached  to  the  sides  of  the  box,  or  the  "  shoes  of  the  strings  "  were 
removed  and  a  long  strip  of  metal,  pierced  with  holes  the  full  length  of  the 
sounding-board,  was  placed  over  the  string-holes;  these  unsightly  additions 
enabled  the  harper  to  continue  to  use  the  instrument  for  some  time. 

It  may  be  stated  that  the  projecting-block,  which  might  be  supposed 
to  be  a  weak  portion  of  the  instrument,  has  not,  as  far  as  the  writer 
is  aware,  been  damaged  in  any  case  by  the  downward  thrust  of  the 
fore-pillar,  although  the  strain  in  some  cases  has  been  so  great  as  to 
shorten  the  fore-pillar.  This  downward  thrust  was  probably  neutralised 
to  a  large  extent  by  the  tension  of  the  strings  acting  upon  the  lower 
portion  of  the  sounding-board  ;  were  it  not  for  this  counteracting  strain 
the  projecting-block  would  certainly  have  been  forced  downwards,  and 
thrust  from  the  box.  It  may  also  be  remarked  that  the  three  portions 
of  the  Harp  were  not  always  pegged,  or  fastened  to  each  other,  but  were 
occasionally  held  together  by  the  tension  of  the  strings  alone. 

Had  these  Harps  been  Irish  specimens  this  countenanced  secular  music.  So  these  Harps  may 
period  might  be  accepted,  but  it  should  be  recol-  have  been  unstrung  for  a  considerable  portion  of 
ected  that  the    leaders  of  the   Reformation  dis-       the  time  specified. 


THEIEISHHAEP  35 

It  would  be  interesting  to  know  what  place  the  Harp  occupied, 
whether  in  the  ladies'  chamber  or  in  the  baronial  hall ;  but  upon  this  point 
Dr.  Lynch  is  silent.  That  splendidly  decorated  instruments,  such  as 
he  describes,  were  intended  not  only  to  be  heard,  but  to  be  seen  and 
admired,  is  certain.  In  Ireland,  either  within  or  without  the  Pale, 
purely  decorative  objects  probably  were  not  numerous,  and  it  is  reason- 
able to  suppose  that  a  highly  ornamented  Harp,  or  even  a  less  ornate 
instrument,  would  have  its  special  place  in  one  or  other  of  the  apart- 
ments named.  The  question  naturally  follows.  Was  that  place  the  wall  ? 
If  a  Celtic  Harp  was  suspended,  it  would  have  been  most  probably 
suspended  by  a  strap  or  band,  attached  for  that  purpose  to  the  portion 
of  the  harmonic  curve  which  is  nearest  to  the  box.  If  the  side  of  the 
Harp  rested  against  the  wall,  only  one  half  of  the  ornamentation  would 
be  visible,  but  if  the  back  of  the  box  was  placed  against  the  wall,  the 
ornamentation  of  both  sides  would  be  clearly  seen.  The  Celtic  Harp 
was  not  a  light  instrument,  and  any  band  or  strap  placed  round  the 
harmonic  curve  for  the  purpose  of  suspension  would  in  time  leave 
a  mark,  but  on  the  two  existing  specimens  there  are  no  such  marks. 
Both  of  these  Celtic  Harps  have  ornamented  fore-pillars.  If  the  reader 
turns  to  the  illustration  of  the  Dalway  Harp  (p.  65),  and  examines  it  as  it 
would  require  to  be  examined  if  suspended,  he  will  find  that  the  animals 
represented  on  the  fore-pillar  will  then  appear  as  if  they  were  moving 
up  the  side  of  a  wall,  whereas,  if  the  illustration  is  examined  showing 
the  Harp  as  resting  upon  the  back  of  the  box,  the  figures  will  all  appear 
in  natural  positions.  The  animals  represented  upon  the  fore-pillar  of  the 
Trinity  College  specimen  can  also  be  best  seen  when  the  instrument  is 
placed  upon  the  back  of  the  box  (see  p.  57),  but  are  unintelligible  when 
the  instrument  is  suspended.  The  wolf-dogs  represented  upon  the 
Castle  Otway  Harp  (p.  73)  would  appear  to  rest  upon  their  necks  or 
heads  were  the  instrument  suspended.  So  far  as  the  writer  is  aware, 
were  it  not  for  Moore's  well-known  line  : — 

'Now  hangs  as  mute  on  Tara's  wall,'i 
there   would    be    nothing    to    induce    any   one    to    suppose   that   the 
Celtic  Harp   was   ever   suspended.      The    injury  to   the   decoration   of 

1  Without  serious  injury  to  Moure's  beautiful  melody  the  following  line  might  be  substituted: — 

"Now  rests  as  mute  within  tliose  whUs.' 


36  MUSICAL    INSTRUMENTS 

a  cherished  object  which  the  friction  of  a  band  would  certainly  have 
caused,  and  the  trouble  of  removing  and  replacing  the  instrument  upon 
the  wall  would  have  prevented  the  possessor  of  one  of  these  beautiful 
Harps  from  suspending  it.  Attention  has  already  been  directed  to 
a  most  interesting  monument  in  Jerpoint  Abbey,  where  a  genuine  Irish 
Harp  is  represented  as  resting  upon  the  back  of  the  box,  and  it  is  the 
writer's  opinion  that  that  was  the  position  in  which  the  instrument  was 
placed  when  not  in  use.  That  Irish  and  Highland  Harps  were  splen- 
didly decorated  and  highly  prized  is  undoubted,  and  it  is  natural  to 
suppose  that  they  would  have  special  places  in  the  Castle  halls  or  other 
apartments.  They  may  have  been  placed  upon  decorated  stands  or 
benches.  No  such  pedestals  are  extant,  but  that  there  were  such  is 
extremely  probable.  A  decorated  instrument,  such  as  the  Dalway  Harp, 
would  never  have  been  placed  upon  the  floor  of  the  hall,  where  it  would 
be  almost  certain  to  be  injured  by  some  of  the  numerous  guests  or 
retainers  Avho  occasionally  thronged  the  apartment. 

METHOD    OF   PLAYING 

The  Irish  harper  placed  the  instrument  upon  his  knees  or  upon  the 
ground,  and,  resting  it  either  against  his  left  shoulder  or  against  his  chest, 
played  the  treble  with  the  left  hand,  and  the  bass  with  the  right,  catching 
the  strings  between  the  finger-nails  (which  were  purposely  trimmed,  so 
as  to  be  long  and  crooked)  and  the  flesh, ^  thus  producing  a  clearer,  and 
perhaps  purer,  tone  than  could  be  otherwise  obtained.  This  method  of 
playing  was  gradually  abandoned,  and  we  find  Dr.  Lynch  thus  describing 
the  manner  of  striking  or  pulling  the  strings  as  practised  during  the 
early  portion  of  the  seventeenth  century.  "The  more  expert  and  accom- 
plished performers  (who  generally  bend  over  the  neck  of  the  Harp,  but 
occasionally  hold  it  erect)  strike  the  brass  strings  with  the  tips  of  their 
fingers,  not  with  their  nails,  contrary  to  the  custom,  as  some  maintained, 
which  not  long  since  was  common  in  Ireland.  That  custom  is  now,  if 
not  obsolete,  at  least  adopted  by  ruder  performers  only,  in  their  anxiety 
to  elicit  thereby  louder  notes  from  the  strings,  and  make  the  whole 

'  This   mauuer  of    pulling   the  strings   by  the       Vicentio  Galilei  in   1581,  and  by  Richard  Stauy- 
Irish  is  uoticed  by  John  Good  in   15(36,  also  by       hurst  in  loS-i. 


THE    IRISH    HARP 


37 


house  ring  with  their  melody."  ^  Hempson,  the  oldest  harper  at  the 
Belfast  meeting  in  1792,  played  with  his  finger-nails;  he  was  probably 
the  last  who  did  so,  as  all  the  other  harpers  who  attended  that  meeting 
pulled  the  strings  with  the  fleshy  part  of  the  fingers  alone. 


SCALE   AND   TUNING,    ETC. 

Of  the  scale  of  the  Irish  Harp  at  a  remote  period  we  have  unfor- 
tunately no  knowledge,  but  it  was  probably  tuned  to  such  gapped  scales 
as  were  in  use.  Pretorius,  a  writer  already  mentioned,  who  published 
in  1619,  gives  what  he  calls  the  scale  of  the  Irish  Harp  with  forty-three 
strings.  As  this  scale  is  so  singular,  the  writer  thinks  it  desirable  to 
reproduce  it  here"  and  leave  it  to  those  who  have  made  a  speciality 
of  Irish  scale  forms  to  decide  whether  or  not  such  a  scale  is  likely  to 
have  been  in  use  at  any  period. 


;M»J  J 


W^ 


^ 


^ 


* 


0   w — * 

ft 


p 


g 


r»r»f,irr"rrYYf"lM 


m 


^ 


In  the  chapter  contributed  by  W.  Beauford  and  published  by  Edward 
Ledwich  in  The  Antiquities  of  Ii-eland  in  1790,  there  is  a  statement  that  the 
Bardic  Harp  (?  sic)  from  twenty-eight  strings  was  afterwards  augmented 
to  thirty-three,  "beginning  in  C  in  the  tenor  and  extending  to  D  in  alt, 
which  seems  to  have  been  the  last  improvement  in  the  Irish  Harp,  and  in 
which  state  it  still  remains."  Although  Mr.  Beauford  mentions  a  Harp 
with  thirty-three  strings,  he  probably  in  the  passage  quoted  gives  the 
range  of  a  Harp  with  thirty  strings,  and  as  two  of  the  strings  were 
tuned  to  the  same  note,  a  gap  would  occur  in  the  scale. 


'■  A  century  later  Echlin  O'Kane,  a  most  accom- 
plished Irish  harper,  who,  although  blind,  had 
travelled  through  England,  Scotland,  France, 
Spain,  and  Italy,  and  performed  before  the  King 
of  Spain,  the  Pope,  and  the  exiled  Stewart  prince 
at  Rome,  played  in  this  manner,  and  prided  him- 
self upon  having  his  nails  specially  trimmed  for 
the  purpose.  This  harper  was  occasionally  most 
offensive  to  his  entertainers,  and  when  his  insol- 


ence could  not  be  overlooked.  Highland  gentlemen 
before  sending  him  from  their  houses  ordered  his 
nails  to  be  cut  quite  short,  a  sufficient  punish- 
ment, as  he  was  then  unable  to  play  ujjon  the 
Harp  until  they  had  grown  to  their  proper  length. 
— Gunn's  Historical  Enquiry, note,  p.  19  ;  Bunting, 
coll.  1840,  p.  VS. 

^  The  writer  is   indebted  to   Professor  Niecks 
for  this  scale  as  it  apjiears. 


38  MUSICAL    INSTEUMENTS 

During  the  fifty  following  years,  as  far  as  the  writer  is  aware,  no 
contrary  assertion  appeared  in  print.  In  1840  Bunting's  third  collection 
was  published.  In  this  work  it  is  stated  that  each  of  the  Harps  that 
were  used  at  the  celebrated  meeting  at  Belfast  in  1792  to  be  hereafter 
referred  to  had  thirty  strings. 

These  Harps  were  not  large^ — we  know  that  two  of  them  were  not 
more  than  four  feet  in  height  ^ — and  as  they  were  intended  to  be  carried 
about  the  country,  they  were  probably  made  as  portable  as  possible. 
Edward  Bunting  procured  all  the  information  obtainable  as  to  the 
tuning  of  the  instrument  as  practised  by  the  harpers  in  1792;  and, 
as  he  was  a  musician  of  some  eminence,  and  able  to  verify  the  state- 
ments, they  are  here  reproduced. 


ANCIENT  MUSIC  OF  IRELAND. 


SCALE  OF  THE  IRISH  HARP   OF  THIRTY  STRINGS,   TUNED   IN  THE 

NATURAL  KEY,  TERMED, 


w 


"  LeaCh  SCeaS,"  <w  hal/mte. 


xsi^^i-ter,  6\    9  jd  m 


is  5/  s8  M ; 


g|    9  JO  Jt  mnlad^a*-  I)     m  J7  1»19  ',"  I  S3  k  si  ^  »  -^-^r^^ 


@ 


i 


^ 


C  D  E 


QABODfifQ     GAB    O  OEEGABCOB     FaABOD     ■}■ 


*  "The  Irish  Harp  had  no  string  for  F  sharp,  between  E  and  G  in  the  bass,  probably 
because  it  had  no  concord  in  their  scale  for  that  tone,  either  major  or  minor ;  but  this  E 
in  the  bass,  called  'Teadlecthae,'  or  fallen  string,  in  the  natural  key  termed  '  Leath  Glass,' 
being  altered  to  F  natural,  a  semitone  higher  when  the  melody  required  it,  and  the  sharp 
F's,  through  the  instrument  being  previously  lowered  a  semitone,  the  key  was  then  called 
'  Teadleaguidhe,'  the  falling  string,  or  high  bass  key." 

II  II  Strings  11  and  12,  "Called  by  the  harpers  'The  Sisters,'  were  two  strings  in  unison, 
which  were  the  first  tuned  to  the  proper  pitch ;  they  answered  to  the  tenor  G,  fourth 
string  on  the  violin,  and  nearly  divided  the  instrument  into  bass  and  treble."  O'Curry 
states  that  the  name  of  these  strings  was  "  Cobhluighe." — Lectures,  vol.  iii.  p.  256.  The 
Sisters  are  mentioned  at  a  very  remote  period  in  the  "Yellow  Book  of  Lecan,"  compiled  in 
1391.— Ibid.,  pp.  250-254. 

t  "  This  is  the  number  of  strings  indicated  by  the  string-holes  on  the  sound-board  of 
the  ancient  Irish  Harp  now  in  Trinity  College,  Dublin,  erroneously  called  'Brian 
Boroiralie's  Harp,'  and  was  the  usual  number  of  strings  found  on  all  the  Harps  at  the 
Belfast  meeting  in  1792." 


1  Petrie,  in  O'Curry's  Lectures,  vol.  iii.  p.  21)5. 


EBTr.  Buis-Tiw-G  Esq"!: 

•Aii/Ao7-  OF  THE  General  Co/ledwn  or  the  Anicicnt  Mitislc  of  IMELANM. 


THE    lEISH    HAEP 


39 


METHOD  OF  TUNING  USED  BY  THE  OLD  HARPERS. 

Tuned  for  high  baja  key. 


*H«=^ 


Tuned  in  octaves  to  the  top. 


Tuned  in  octaves  to  the  bottom.t 


if! 


iJ4L*|f^^ 


I  "  It  will  be  observed  by  the  musical  critic,  that  only  two  major  keys,  viz.,  G  one 
sharp,  and  C  natural,  were  perfect  in  their  diatonic  intervals  on  the  Irish  Harp ;  but  the 
harpers  also  made  use  of  two  ancient  diatonic  minor  keys  (neither  of  them  perfect 
according  to  the  modern  scale),  viz.  E  one  sharp,  and  A  natural.  They  sometimes  made 
use  of  D  natural  minor,  which  was  still  more  imperfect,  though  some  of  their  airs  were 
performed  in  that  key,  and  were  thought  extremely  agreeable  by  many  persons." 


C  sharp,  § 


occasionally  tuned  to  F  sharp,  (a  fifth.) 


§  "  The  harpers  said  that  this  single  note,  C  sharp,  was  sometimes  made  use  of,  but 
the  editor  seldom  met  with  an  instance  of  it." 

As  the  scale  given  for  the  Irish  Harp  was  jjubHshed  when  the  Harp 
was  in  use,  and  when  many  were  alive  who  must  have  recollected  harpei-s 
of  an  earlier  school  than  those  educated  by  the  Belfast  society,  and  as 
this  scale  was  accepted  and  reprinted  by  George  Farquhar  Graham,^  a 
writer  not  altogether  favourable  to  Bunting,  and  does  not  appear  to  have 
been  questioned,  it  may  be  accepted  as  correct. 

Bunting  gives  the  following  names  and  explanations  for  the  different 
kinds  of  Irish  Harps  and  strings  of  the  Harp  : — 

CLARSECH,        .         .     The  common  harp. 

CINNARD-CRUIT,     .     The  high-headed  harp. 

CROM-CRUIT,    .         .     The  down-bending  harp. 

PVTR\'T'V  i  Supposed  to   be   the   portable   harp  used    by  the   priests    and 

^    -^  I  •         ■         ■  )^  religious  people. 

CRAIFTIN  CRUIT,    .     Craftine's  harp  (a  man  noted  in  Irish  legends). 

LUB,   .         .         .         .A  poetical  name  for  the  harp. 

'  Introfluction  to  Songs  of  Irelaud  without  Words,  J.  T.  Surenne. 


40 


MUSICAL    INSTEUMENTS 


THE  NAMES  IN  IRISH  OF  THE  DIFFERENT  STRINGS  OF  THE  HARP, 
WITH  THE  TRANSLATIONS  AND  MUSICAL  EXAMPLES 


CAOMHLUIGHE, 


Lying  togetlier/ 


GILLY  CAOMLUIGHE,       .        .     Servant  of  the  sisters, 
AN    DARA   TEAD    OS    CIONNl 


CAOMLUIGHE, 


.r 


Second  string  over  the  sisters, 


AN  TREAS   TEAD    OS   CIONN 1  ^,  •  ,    .  •  ,      •  , 

CAOMLUIGHE,         .         .         .  |  ilu'd  string  over  the  sisters. 


TEAD  NA  FEITHE-0-LACH, 


String  of  the  leading  sinews,^ 


GILLY    TEAD    NA    FEITHE-0-|  g^^^^^^^  ^^  ^^^  j^^^j      ^-^^^^^^ 


TEAD  A  LEITH  GLASS, 


String  of  the  half-note,' 


DOFHREGRACH  CAOMLUIGHE,  Answering,^ 


FREAGRACH        TEAD         NA 
FEITHE-0-LACH,      . 


CRONAN, 


TEAD  LEAGUIDH, 


i  Response  to  the  leading  sinews,' 
.     Drone  bass,* 


Falling  string,' 


m 


G    G 


^ 


^ 


.Ei 


E 


w 


G 


m 


D 


m 


G 


©fc 


1  Called  by  the  harpers  "  the  Sisters,"  were  two 
strings  in  unison,  wliich  were  first  tuned  to  the 
proper  pitch ;  they  answered  to  tlie  tenor  G, 
fourth  string  on  the  violin.     See  note  ||  ||,  p.  38. 

-  Called     by     the     harpers     "  the     String     of 


5  Next  the  octave  to  the  "Sisters." 

■*  Octave  above  the  "Sisters,"  was  next  tuned. 

°  Being  octave  below  the  "  String  of  Melody." 

^  Octave  below  the  "  Sisters." 

"  Being   F   natural    raised    from    E   natural,  a 


M-lo'ly,"  was  tuned  next  to  the  "  Sisters,"  being       semitone,    to    answer    the    melody    as    occasion 
a  fifth  above  them.  required. 


THE    lEISH    HARP 


41 


TEAD  LEACTHEA, 


NAMES   OF  THE   STRINGS — continued. 


The  string  fallen,' 


CRONAN  lOCH-DAR-CHANUS,      Lowest  note.^ 


UACH-DAR-CHANUS, 


DO  FREGRACH, 


FREGRACH, 


Highest  note,^ 


Answering,* 


.     Response,' 


^ 


m 


E 


m 


CO 


I 


D 


m 


w^ 


When  playing  at  Belfast  in  1792,  Bunting  states  that  "the  harpers 
used  a  great  degree  of  execution,  performing  such  a  variety  of  difficult  and 
novel  shakes,  and  exhibiting  such  a  precision  in  staccato  and  legato,  as 
astonished  and  delighted  all  the  musicians  present.  Struck  with  the 
extraordinary  degree  of  art  exhibited  in  these  varieties  of  their  perform- 
ance, the  Editor  (Bunting)  carefully  noted  down  examples  of  each,  taking 
pains,  at  the  same  time,  to  learn  as  many  as  possible  of  the  technical 
terms,  by  which  such  points  of  the  execution  are  described  in  the  Irish 
language."  ^  As  Bunting  not  only  gives  musical  examples,  but  also 
explains  the  method  of  stopping  the  notes  as  practised  by  the  harpers, 
the  writer  considers  it  desirable  that  they  should  be  here  reproduced,  as 
they  may  be  found  of  value  by  those  who  may  attempt  to  play  upon  the 
instrument. 


*  The  natural  tone  of  the  string. 

2  Douhle  C  in  the  baas,   five  notes  below  the 
cronan. 

^  D  in  alt,  the  highest  note  on  the  Irish  Harp. 

*  Applied  to  all  the  octaves  in  the  treble. 


^  Applied  to  all  the  octaves  in  the  bass,  except 
the  cronan. 

«  Bunting,  coll.  1840,  p.  19.  He  also  states 
that  he  frequently  visited  Hempson,  who  was 
over  100  years  of  age,  and  from  him  he  learned 
his  peculiar  method  of  playing  and  fingering. — 
Ibid.,  p.  6. 


42 


MUSICAL    INSTEUMENTS 


THE  NAMES  OF  THE  GRACES  PERFORMED  BY  THE  TREBLE  OR  LEFT  HAND, 
WITH  THE  TRANSLATIONS  AND  MUSICAL  EXAMPLES 

kc. 
BRLSIDH,    ....     A  break,        .... 

Performed  by  the  thumb  and  first  finger  ;  the  string  struck  by 
the  thumb  is  stopped  by  it,  the  first  finger  string  left  sounding. 


i+l  + 


u 


^^ 


^ 


LEAGADH  ANUAS,  .        .     A  falling,       .... 

liy  the  first  finger  and  thumb  ;  thumb  stops  the  string  sounded 
l)y  the  first  finger,  and  thumb  string  left  sounding. 

LEATH  LEAGUIDH,  .     A  half  falling, 

By  second  and  third  finger  ;  .string  struck  by  second,  stopped  by 
first,  and  string  struck  by  third,  stopped  by  second  finger. 


SRUITH-MOR, 


A  great  stream  ascending. 


First,  second,  and  third  fingers  of  the  left  hand  slide  along  the 
strings,  which  were  either  stopped  or  allowed  to  sound,  as  the 
harper  pleased  ;  in  general,  executed  in  a  most  rapid  manner. 


SRUITH-MOR,    ...     A  great  stream  descending,     . 

Fingered  in  the  same  manner  as  last  by  the  right  hand,  performed 
as  above. 


SRUITH-BEG,  .         .     Little  stream. 

By  thumb,  first,  second,  and  third  fingers  of  the  left  hand. 

By  third,  second,    and   first  fingers,  ascending   one   string  each 
time. 


^^ 


.53  !t  fe- 


SHAKES,  ETC. 
BARLLUITH,      .  .     Activity  of  the  fingers,  . 

A  continued  shake,  by  second,  first,  and  third  fingers  alternately. 
The  harpers  did  not  finish  the  shake  with  a  turn,  as  in  the  mode 
adopted  at  present. 

BARLLUITH -BEAL- AN-  ^  Activity  of  finger-ends,  striking 
AIRDHE,  .         ./       upwards,    .... 

By  second,  firai,  and  third  fingers;  the  string  struck  by  third, 
briskly  stopped  by  second ;  first  string  still  sounding. 


SI  SI    2  J  3J, 


f^ 


THE    IRISH    HARP 


43 


NAMES   OF   THE   GRACES—COntillued. 

CASLUITH,  .     Returning  actively, 

By  third,  first,  and  second  fingers ;  the  strings  stopped  instan- 
taneously by  each  finger  when  played. 


BARLUITH  FOSGALTA,  .     Activity  of  finger-tops,  .         .        Qij; 

By  second,  first,  and  third  fingers ;  second  finger  string  stopped 
by  first ;  first  finger  string  still  sounding. 


CUL-AITHRIS,    .         .         .     Half  shake,    . 

By  first  finger  and  thumb. 


TRIBUILLEACH  or  CREA- 1  ^  .  ,     ,    , 
THADH  GOIMHMHEAK,J  ^"P'®  ^'^'^'^®' 
By  second,  first,  and  third  fingers,  three  times  in  succession. 


CROTHACHAON  MHEAR,     Shaking, 

By  first  finger,  back  and  forward,  on  the  same  string. 


DOUBLE  NOTES,  CHORDS,  ETC. 
FOR   THE   LEFT   HAND 


BULSGAN,  ....     Swelling  out, 
By  the  first  and  second  fingers  ;  a  third. 


n  i)t  S  2     S    S 


GLASS,        ... 

By  first  and  third  fingers  ;  a  fourth 


A  joining, 


3    3       3     3 


^ 


FOR   THE    RIGHT    HAND 


GLASS,         .         .         .         .A  joining, 
By  thumb  and  third  finger  ;  an  octave. 


+      +      + 
3      3, 


^^m 


LAGHAR,    ....     Spread  hand, 

With  forked  fingers,  first  and  third  fingers  ;  an  octave. 


^ 


3l31   21 


44 


MUSICAL    INSTRUMENTS 


DOUBLE  NOTES,  ETC. — continued 

LAGHARLAIR,   .  .     Middle  of  hand,    .        .        .      (^y.  ^  P  P  14 

By  first  and  second  fingers  ;  a  third.  '"'^         1^  I      — I— 


GLASLUITH, 


.     Quick  locking, 


By  thumb,  first  and  third  fingers  ;   a  chord  of  a  third,  with  an       U|- jr 
octave.  


^ 


is,         +23. 

z: 


■=i^ 


m 


^^ 


CENNANCHRUICH,  .        .     Extremity  of  hand. 

By  first,  second,  and  third  fingers  ;  a  chord  of  three  notes. 


TAOBHCROBH,  .  .     Side  hand,     . 

By  thumb,  second,  and  third  fingers ;  a  chord  of  three  notes. 


LANCHROBH,     .  .     Full  hand,     ....      (^^ 

By  thumb,  first,  second,  and  third  fingers ;  a  chord  of  four  notes.        ^~-^ 


*& 


3  3 


^ 


MALART  PHONOGH,         .     To  reverse  the  hand,      . 
Or  crossing  the  hands,  the  right  taking  the  place  of  the  left. 


rt 


^^m 


w 


It  is  worthy  of  remark  that  the  harpers  struck  the  upper  notes  of  these  chords  first, 
instead  of  beginning  with  the  lowest  tone,  as  the  moderns  do  in  their  Arpeggios.  All 
these  graces,  shakes,  double  notes,  chords,  etc.,  had  a  different  sound  and  expression, 
according  to  the  method  adopted  in  fingering,  and  stopping  the  vibration  of  the  strings. 


THE  IRISH  TERMS  USED  BY  THE  HARPERS  TO  INDICATE  THE  TIME,  MOOD, 
AND  KEY,  WITH  THE  TRANSLATIONS 


THE  TIME 


TREBHUINNEACH,     Trebly  rapid, 

CUIGRATH,       .        .  Dirge  time, . 
CRUDHCHLESACH,    Bold,  heroic, 


rirish  jig  time,  used  in  the  old  dancing  airs, 
-  etc.,  which  were  performed  with  great 
[     vivacity  and  vigour. 

("Lamentations  for  particular  families,  with 
\     words. 

/Marching  time,  also  the  time  of  the  ancient 
\     melodies  in  general. 


THE    IRISH    HARP 


45 


THE  TIME — continued 


CUMHADTH, 


PHURT, 


Lamentation, 


.  Time  of  the  lessons, 


("Time  of  the  music  composed  in  compliment 
to  the  deceased  patrons  of  the  harpers, 
without  words,  but  by  no  means  slowly 
played. 

'  Phurt "  frequently  consisted  of  two  parts  ; 
first,  Na  phurt,  introductory,  and  Malart 
Phonck,  changing  the  position  of  the 
hands,  the  right  hand  playing  the  treble, 
and  the  left  the  bass. 


THE  MOODS 

ALHBHAN-TRIRECH,  The  three  moods.  Or  species  of  music. 

GENANTTRAIDHEACHT,  Love,    .         .  Music  of  a  graceful  and  expressive  order. 

GOLLTTRAIDHEACHT,  Exciting  sorrow.  Melancholy  music. 

SUANTTRAIDHEACHT,  Soothing,         .  Sleepy,  composing  strains. 

I  UTNNFArH  /  ^^^''y'    Joyf"!  \Supposed  to  apply  to  the  Luingis   of  the 

'       "         ■   \      music,  .  j     Highlands  of  Scotland. 


THE    KEYS 


LEATH  GLASS, 

FUIGHEALL-MOR, 

FUIGHEALL-BEG, 
UAN  FUIGHEALL, 


Half  note,    . 

Great  sound. 

Lesser  sound, 
Single  sound. 


TThe  leading,  or  next  note  to  the  "  Response  " 
A  to  the  "Sisters,"  forming  the  proper  key 
[     of  the  harp,  being  G  natural,  one  sharp. 

(Formed  by  raising  C  natural  (a  semitone 
\     higher)  to  C  sharp.     Seldom  used. 

/Supposed  to  be  the  high  bass  or  flat  key. 
\     The  key  of  C. 

One  sharp,  another  name  for  the  key  of  G. 


The  Irish  terms  given  by  Bunting  were  procured  from  the  most 
distinguished  of  the  harpers  who  met  at  Belfast  in  the  year  1792.  The 
harpers  whose  authority  was  chiefly  reUed  upon  were  Hempson,  O'Neill, 
Higgins,  Fanning,  and  Black,'  "  who,  although  educated  by  different 
masters  (through  the  medium  of  the  Irish  language  alone),  and  in 
different  parts  of  the  country,  exhibited  a  perfect  agreement  in  all  their 
statements,  referring  to  the  old  traditions  of  the  art  as  their  only 
authority,  and  professing  themselves  quite  at  a  loss  to  explain  their 
method  of  playing  by  any  other  terms."'-  Bunting  was  assisted  by  Dr. 
James  M'Donnell,  who,  on  8th  November  1838,  wrote  as  follows  : — "  As 


'   All  except  Fauuing  were  bliuJ. 


2  Buuting,  coll.  1S40,  pp.  19,  20. 


46  MUSICAL    INSTRUMENTS 

to  the  character  of  O'Neill,  I  found  him  a  man  of  veracity  and  integrity, 
etc.  I  think,  therefore,  you  may  rely  with  the  greatest  confidence  upon 
any  information  he  gave  you  as  to  the  technical  names  of  the  strings, 
and  parts  of  the  harp,  and  names  of  the  different  notes,  or  shakes  upon 
the  harp.  He  was  as  incapable,  as  he  would  have  been  disinclined,  to 
have  invented  these  terms,"  ^  etc.  Bunting  was  not  an  Irish  scholar,  and 
he  occasionally  gives  different  spellings  of  the  Irish  terms  ;  but  that  the 
terms  were  those  used  by  the  harpers  of  the  eighteenth  century  there 
can  be  no  reasonable  doubt.  However,  it  is  necessary  to  state  that 
O'Curry  has  pronounced  them  to  be  "apocryphal  and  corrupt,"  and 
that  "  all  of  them,  with  few  exceptions,"  as  O'Curry  undertook  to 
show,  were  "mere  forgeries,  or  else  the  most  commonplace  and  vulgar 
Hibernicisms  of  English  terms."  ^ 

Proof  of  the  accuracy  of  this  statement  should  have  been  produced 
when  the  lecture  was  delivered.  Bunting  had  died  nearly  twenty  years 
previously,  and  O'Curry  passed  away  shortly  after  without  having 
exposed  the  so-called  frauds.  The  terms  used  by  the  harpers  may  have 
appeared  incorrect  to  an  eminent  Irish  scholar,  but  were  it  not  for 
Bunting  we  should  now  be  deplorably  ignorant  as  to  the  scale,  tuning, 
and  fingering  of  the  wire-strung  Irish  Harp.  Bunting,  an  accomplished 
musician,  who  studied  the  method  of  playing  as  practised  by  the 
harpers,  could  not  have  mistaken  the  manner  in  which  the  different 
graces,  etc.,  were  executed,  and  by  noting  them  he  made  it  possible 
that  this  instrument,  celebrated  for  almost  countless  centuries,  may 
again  be  heard. 

DECAY   AND   DISAPPEARANCE 

That  the  Irish  Harp  was  an  instrument  of  great  power  and 
sweetness  cannot  be  doubted,^   and  it  is  equally  certain  that   it  was 

'  Bunting,  coll.  1840,  p.  61.  excellent,  Walker,  Appendix,  p.  91.      It  was  also 

2  Lectures   vol  iii  d  302  ^tsei.  to  some   extent   in  connection  with  other 

instruments.     "Manini,  our  first  violin  (at  Cam- 

^  The  Irish  Harp  was  a  usual  accompaniment  bridge),  often  spoke  of  the  performance  of  O'Kane 

of  the  Mass  in  the  Roman   Catholic  Churches.  with  great  rapture,  assuring  me  that  he  could, 

— Bunting,  coll.  1840,  p.  53.    Carolan  "frequently  although  blind,  play  with  great  accuracy  and  fine 

assisted   with    his    voice    and    his    harp   at   the  effect  the  first  treble  and  bass  parts  of  many  of 

elevation    of   the    Host,"   and    composed    several  Corelli'a    Concertos,    in    concert    with   other   in- 

pieces   of  church   music  which  were    considered  struments." — Gunn's  Enquiry,  note,  p.  (30. 


THE    IKISH    HARP  47 

an  exceptionally  difficult  instrument  to  learn,  particularly  as  the  pro- 
fession was  almost  entirely  reserved  for  those  of  either  sex  who  had 
lost  their  sight  when  young.  To  be  a  proficient,  it  was  necessary 
for  the  pupil  to  begin  at  the  early  age  of  ten  or  twelve.^  Then, 
after  studying  under  several  instructors  for  six  or  eight  years,  the 
young  harper  commenced  playing  as  a  professional.  The  execution  of 
some  of  the  noted  performers,  who  were  to  be  heard  at  the  close 
of  the  eighteenth  century,  must  have  been  remarkable.  A  gentleman, 
who  had  often  heard  Mungan  play,  after  stating  that  he  was  a  most 
admirable  performer,  thus  describes  his  delicacy  of  touch  : — "  Those 
janglings  of  the  strings,  so  general  amongst  ordinary  practitioners,  were 
never  heard  from  the  Harp  in  his  hands.  But  it  was  in  the  piano 
passages  he  chiefly  excelled  :  these  came  out  with  an  effect  indescrib- 
ably charming.  His  '  whispering  notes '  commenced  in  a  degree  of  piano 
that  required  the  closest  approach  to  the  instrument  to  render  them  at 
first  audible,  but  increased,  by  degrees,  to  the  richest  chords.  In  then- 
greatest  degree  of  softness,  they  resembled  rather  the  sympathetic  tones 
than  those  brought  out  by  the  finger."  ^  Hempson,  who,  as  already 
stated,  played  with  long,  crooked  nails,^  had,  even  at  the  great  age  of 
ninety-seven,  "an  admirable  method  of  playing  staccato  and  legato,  in 
which  he  could  run  through  rapid  divisions  in  an  astonishing  style.  His 
fingers  lay  over  the  strings  in  such  a  manner  that  when  he  struck  them 
with  one  finger,  the  other  was  instantly  ready  to  stop  the  vibration ;  so 
the  staccato  passages  were  heard  in  full  perfection."  The  intn'cacy  and 
peculiarity  of  his  playing  often  amazed  the  writer  of  the  passage  just 
quoted,  "  who  perceived  in  it  vestiges  of  a  noble  system  of  practice  that 
had  existed  for  many  centuries."*  Seybold,  a  celebrated  performer  on 
the  Pedal  Harp,  after  hearing  Arthur  O'Neill,  "  declared  his  admiration 

'  Hempsou  studied,  from  twelve  to  eighteen,  devised  by  the  most  modern  improvers." — Ibid., 

under    four   instructors.      Carolan,  who  did    not  p.    73.      In  another  passage   he   says: — "In   his 

commence   the   Harp    until    upwards   of   sixteen,  performance,    the    tinkling    of   the   small   wires, 

never,  as  we  are  told,  excelled  as  a  performer. —  under  the  deep  notes  of  the  bass,  was  particularly 

Bunting,  coll.  ISiO,  p.  72.     See  Evelyn,  p.  23.  thrilling." — Ibid.,   p.    3.     Mr.    Gunn    says: — "I 

-  Bunting,  coll.  1840,  p.  78.  have  frequently  heard  it  related  of  O'Kane,  the 

^  Ibid.,  coll.  1840,  p.  73,     Bunting,  when  again  celebrated  Irish  harper,  in  different  places  where 

referring  to  Hempson's  method  of  playing,  states  he  had  been  heard,  that  he  very  commonly  drew 

that  his  "staccato  and   legato    passages,  double  tears   from    his   auditors." — Historical    Enquiry, 

slurs,  shakes,  turns,  graces,  etc.  etc.,  comprised  note,  pp.  59,  60. 
as  great  a  range  of  execution  as   has  ever  been  *  Bunting,  coll.  1840,  p.  73. 


48  MUSICAL    INSTEUMENTS 

of  his  shake  upon  the  Irish  Harp,  which  was  performed,  apparently,  with 
the  greatest  ease  and  execution ;  admitting  that  he  could  not  do  it 
himself  in  the  same  manner  on  his  own  instrument,  the  shake  being 
the  greatest  difficulty  upon  every  species  of  Harp." 

The  harpers  taught  exactly  as  they  themselves  had  learned ; '  and 
at  the  celebrated  meeting  in  1792,  the  performers  present,  although  they 
had  come  from  different  counties,  or  provinces,  and  had  been  taught  by 
separate  masters,  played  the  same  melodies,  "  in  the  same  keys,  and 
without  variation  in  any  essential  passage  or  note."  ^  Of  the  harpers 
themselves,  particularly  those  he  had  known,  or  of  whom  he  had  pretty 
reliable  information.  Bunting  has  left  some  interesting  notes. 

Many  of  these  minstrels  belonged  to  respectable  families,  and  travelled 
from  mansion  to  mansion,  some  even  with  retinues,  but  usually  either 
on  horseback,  with  a  guide,  or  on  foot,  attended  by  a  harp-bearer. 
Families  of  pure  Irish  descent  were  most  frequently  visited,  but  the 
harpers  were  also  welcomed  and  entertained  by  the  descendants  of  the 
English  and  Scotch  settlers.  Thus  they  travelled  over  the  greater 
portion  of  Ireland,  and  had  an  extensive  knowledge  of  a  large  number 
of  the  leading  families. 

There  can  be  no  doubt,  at  the  close  of  the  eighteenth  century  the 
Irish  Harp  was  on  the  decline.  No  composer  for  the  instrument  had 
appeared  after  the  death  of  Carolan  ;  the  harpers  that  remained  were  not 
numerous,  and  of  these  the  larger  number  were  blind.  To  encourage 
this  class  of  musician,  an  Irish  gentleman,  residing  in  Copenhagen,  con- 
ceived the  idea  of  offering  liberal  premiums  for  competition,  and,  to 
attract  and  interest  the  resident  gentry,  a  splendid  ball  was  to  be  part 
of  the  entertainment.     For  this  purpose,  Mr.   James  Dungan  supplied 

1  Dr.  M'Donnell,  who  had  been  a  pupil  of  educated  by  different  masters  (through  the  medium 
Arthur  O'Neill  during  the  two  years  he  had  lived  of  the  Irish  language  alone),  and  in  different  parts 
in  his  father's  house,  states  that  O'Neill  "never  of  the  country,  they  exhibited  a  perfect  agree- 
affeeted  to  compose  or  alter  any  tune,  but  played  ment  in  all  their  statements,  referring  to  the  old 
it  exactly  as  he  had  been  taught  by  his  master,  traditions  of  their  art  as  their  only  authority,  and 
Hugh  O'Neill,  for  whom  he  always  exjjressed  professing  themselves  quite  at  a  loss  to  explain 
great  veneration." — Bunting,  coll.  1S40,  p.  61.  their  method  of  playing  by  any  other  terms." — 

Ibid.,  coll.  1840,  p.  20.     Hempson,  when  asked 

2  Bunting,  coll.  1809,  p.  iii.  It  was  remarked  the  reason  of  playing  certain  parts  of  a  tune,  or 
that  their  instruments  were  tuned  in  one  uniform  lesson,  in  that  style,  would  reply,  "  That  is  the 
system,  though  the  performers  on  them  were  way  I  learned  it,"  or,  "  I  cannot  play  it  in  any 
ignorant  of  the  principle. — Ibid.,p.iii.    "Although       other." — Ibid.,  coll.  1840,  p.  73. 


THE    lEISH    HAEP  49 

the  means ;  and,  although  he  was  not  able  to  attend  himself,  succeeded 
in  bringing  about  the  first  meeting,  which  took  place  in  his  native  town 
of  Granard  in  1781.  Only  six  harpers  attended,  but  the  meeting  and 
ball  were  most  successful.  The  second  meeting  took  place  during  the 
following  year,  at  which  eight  harpers  appeared.  At  the  third  and  last 
meeting,^  Mr.  Dungan  was  present,  and  two  new  performers  attended.- 
The  ball,  at  which  at  least  one  thousand  persons  were  present,  was  most 
brilliant.  The  numbers  of  competitors  at  the  second  and  third  meetings, 
notwithstanding  the  success  of  the  first,  show  how  few  performers  there 
then  were  in  the  country. 

In  1791  some  gentlemen  belonging  to  Belfast  issued  a  circular,  in 
which  it  was  proposed  to  assemble  the  harpers,  to  whom  prizes  were 
to  be  distributed,  and  that  a  person  well  versed  in  the  language  and 
a  competent  musician,  to  transcribe  and  arrange  the  most  beautiful 
melodies,  should  attend.  The  meeting  took  place  at  Belfast  on  the 
11th,  12th,  and  13th  of  July  1792.  The  following  are  the  names 
and  ages  of  the  ten  harpers  who  were  present : — Denis  Hempson  (blind), 
from  the  county  of  Derry,  aged  97.  Charles  Byrne,  from  the  county  of 
Leitrim,  aged  80.  Daniel  Black  (blind),  from  the  county  of  Derry,  aged 
75.  Arthur  O'Neill  (blind),  from  the  county  of  Tyrone,  aged  58." 
Charles  Fanning,  from  the  county  of  Cavan,  aged  56.  Hugh  Higgins 
(blind),  from  the  county  of  Mayo,  aged  55.  Rose  Mooney  (blind),  from 
the  county  of  Meath,  aged  52.  Patrick  Quin  (blind),  from  the  county 
of  Armagh,  aged  47-  James  Duncan,  from  the  county  of  Down, 
aged  45,  and  William  Carr,  from  the  county  of  Armagh,  aged  15. 
The  tickets  for  admission  to  the  three  performances  were  10s.  6d.  each.^ 

'  There  is  a  list  of  the  prizes  advertised  in  the  Bacach  buidhe  na  leimne,  or  The  Lame  Yellow- 
Dublin   Evening   Post   of   .July    1784;    and    it   is  Beggar. 

stated  that  a  similar  advertisement  appeared   iu  Car  a  Ueann  dilis,  or  Black-headed  Deary. 

July    17S5   (Walkers  Irish   Bards,   note,    p.    98).  Cardan's  Cap. 

According   to   Bunting    a   meeting  did    not   take  Carolan's  Concerto, 

place  during  the  last-mentioned  year.  Carolan's  Devotion. 

-  Bunting.      According    to    the    Belfast    News  Carrick  an  evenish,  or  Pleasant  Rooks. 

Letter  he  was  55.  Cathal  Mhac  Aodha,  or  Charles  M'Huyli. 

2  The    following  list  of    the   melodies    played  Catherine  Tyrrell, 

by  the  harpers   upon   this  memorable  occasion  is  C'auher  vac  Aough. 

taken  from  Bunting,  coll.  1840,  the  Belfast  News  Cionn  Dhu  Dielinh. 

Letter  of  July  10-13,  1792,  and  the  Northern  Star,  CoUough  an  Tinnic,  or  The  Sleeping  Fox. 

Belfast,  July  14-18,  1792.      Those  iu  italics  (from  Colonel  0'H.ira. 

the   Belfast  papers)  if  given   by  Bunting  appear  Cooiin. 

under  different  headings  : —  Cooiin  Doon. 


50 


MUSICAL    INSTEUMENTS 


Mr.  Edward  Bunting  was  the  musician  selected  to  attend,  and  the 
instructions  he  received  were,  as  he  states  himself,  exact.  He  was 
"  cautioned  against  adding  a  single  note  to  old  melodies,  which  would 
seem  to  have  passed,  in  their  present  state,  through  long  succession  of 
ages."  ^  The  meeting  was  most  successful,  and  all  the  harpers  were 
handsomely  paid  and  entertained." 

These  men,  Avho  had  studied  under  different  instructors,  who  had 
no  other  way  of  acquiring  knowledge  except  from  those  of  a  previous 
age,  had  received  from  their  masters  the  beautiful  melodies  of  their 
country  untainted,  and  the  methods  of  playing  upon  the  national 
instrument,  as  practised  by  their  instructors,  and,  presumably,  by  many 
previous  generations  of  harpers.  There  being  no  reason  to  doubt  that 
they  were  most,  if  not  all,  highly  accomplished  performers,^  it  is 
surprising  to  find  them  referred  to  in  a  lecture  delivered  some  seventy 
years  later  as  "  the  degenerate  body  of  harpers,  who  held  their  last 
synod  in  Belfast."^  It  is  to  be  regretted  that  Professor  O'Curry,  by 
thus  referring  to  the  harpers  who  had  appeared  at  the  assembly,  should 
have  marred  his  exceptionally  able  lectures  on  Irish  Musical  Instruments. 


Denis  Daly. 

Doctor  Hart. 

Eibhlin  a  Ruin,  or  Ellen  a  Eoon. 

Fanny  Power,  or  Mrs.  Freucli. 

Grace  Nugent. 

Graga-nish,  or  Love  in  Secret. 

Green  Woods  of  Truagh. 

Jig. 

Lady  Blaney. 

Lady  Iveagh. 

Lady  Letitia  Burke. 

Mabel  Kelly. 

Madam  Cole. 

Maiilin  bheag  aoibhinn,  or  Soft  Mild  Morning. 

Afitm  Feniiing. 

Miss  Moore,  or  Tlie  Hawli  of  Ballyshannon. 

Molly  Bheag  0,  or  Little  Molly  O. 

Morning  Star. 

Mrs.  Crofton. 

Mrs.  Judge. 

Mrs.  Maxwell. 

Nancy  Cooper. 

Oganioge. 

Patrick's  Day. 

Pearla  an  vroley  vaan. 

Plnnlsty  Reily, 

Planxty  Kingsland. 


Pleararca  na  Ruarc,  or  O'Rourke's  Feast. 

Rose  Dillon. 

Scara  na  Gumbanagh,  or  The  Parting  of  Friends. 

Sheela  na  Conallon. 

Sir  Charles  Coote. 

Sir  Festus  a  Burke. 

Slieve  Gallen. 

The  Dawning  of  the  Day. 

The  Fairy  Queen. 

The  Humours  of  Whisky. 

The  old  Truagha. 

The  Receipt  for  Drinking  Whisky. 

The  Rocks  of  Pleasure. 

Thomas  a  Burke. 

Tiarna  Mayo,  or  Lord  Mayo. 

Ull  a  condo,  wo,  or  The  County  of  Leitrim. 

1  Bunting,  coll.  1S09,  p.  3. 

-  At  the  Musical  Loan  Exhibition,  Dublin, 
1899,  Exhibits  Nos.  17,  29,  3(1,  37,  43,  and  44 
related  to  this  meeting. 

^  Indifferent  or  bad  performers  would  scared}- 
have  competed  for  prizes. 

^  O'Curry's  Lectures,  vol.  iii.  p.  302.  If  the 
reader  turns  to  p.  275,  same  volume,  he  will 
find  O'Curry  referring  to  one  of  the  "degenerate 
body  "  as  "the  celebrated  Arthur  O'Neill." 


THE    IRISH    HARP  51 

Had  he  lived  to  see  his  lectures  through  the  press,  the  passage  might 
perhaps  have  been  withdrawn.  As  it  is,  the  reader  may  be  curious 
to  know  what  oppoi-tunity  O'Curry  had  of  judging  of  their  merits,  and 
how  far  he  was  justified  in  the  use  of  such  language.  O'Curry  was  born 
in  1796,  four  years  after  the  Belfast  meeting  ;  O'Curry  was  thirteen  in 
1809,  when  only  two  of  the  harpers  were  alive;  O'Curry  was  twenty 
in  1816,  during  which  year  the  last  of  the  harpers  died.  So,  even  if 
O'Curry  had  been,  when  extremely  young,  a  musical  genius  and  critic, 
he  is  not  likely  to  have  had  an  opportunity  of  forming  an  opinion, 
certainly  not  of  comparing  the  performance  of  previous  generations  of 
harpers  with  that  of  the  so-called  "  degenerate  body  "  which  met  four 
years  before  he  was  born.  If  the  reader  turns  to  Bunting,  coll.  1840, 
he  will  find,  in  p.  3,'  enough  to  show  that  O'Curry  was  ungenerous 
and  unjust :  the  power  of  producing  new  and  original  melodies  may- 
have  died  with  Stirling,^  but  the  power  of  rendering  those  already 
created,  in  a  finished  and  admirable  style,  was  still  alive  in  1792. 

Perhaps  the  unsettled  state  of  the  country  may  have  prevented 
any  further  meetings,  but  in  1807  the  Belfast  Harp  Society  was 
formed.^  This  society,  which  supplied  board  and  lodging  to  a  number 
of  boys  who  had  lost  their  sight — whose  ages  ranged  from  ten  upwards — 
and  a  competent  teacher,  Arthur  O'Neill,  to  instruct  them,  came  to  an 
end  in  1813  from  want  of  funds. 

In  1819  a  new  society  was  instituted  by  the  liberality  of  some 
noblemen  and  gentlemen  in  India.  It  was  then  discovered  that  there 
were  no  harpers  living  who  had  not  been  instructed  by  Arthur  O'Neill, 

'  After  the  ten  harpers  who  had  appeared  at  of   that  tender  and   impressive  instrument,   once 

Belfast  had   passed   away,  Bunting  states  "that  so  dear  to  Irish  enthusiasm,  is  as  vividly  rapid  as 

the    least    able    of    them    had    not    left   his    like  it  is  obviously  unimpeded  by  any  effort  of  national 

behind"    (coll.    1S40,  p.   3),   but  he   allows    that  pride  or  national  affection. "—The  Lay  of  an  Irish 

Rainey,  a  pupil  of  O'Neill,  also  dead,  had  been  a  Harp,  note,  p.  2. 

very  good  harper  (ibid.,  p.  66).     Miss  Owenson  -  Parson  Stirling  of  Lurgan  composed  a  number 

(Lady  Morgan),  who  was  a  performer,  visited  the  of  capital  airs,  which  he  played  upon  the  Bagpipes, 

western  part  of  Connaught  in  1805.     Concerning  They  were  also  played  upon  the  Harp  by  Catherine 

this    expedition    she    writes    as    follows: — "The  Martin. — Bunting,  coll.  1840,  p.  SI. 
hope   I  had  long  cherished  of   hearing   the  Irish  =•  In    1809  an   attempt   was   made   to   organise 

Harp  played  in  perfection  was  not  only  far  from  a   Harp   .Society  in   Dublin,   jirincipally  by  .John 

being  realised,  but  infinitely  disapi)ointed.      That  Bernard  Trotter.     Quin  was  the   instructor,   and 

encouragement   so   nutritive   to  genius,   so  indis-  played  in  public  at  a  Commemoration  of  Carolan 

pensably    necessary    to    perseverance,    no    longer  to  promote  the  object.     The  society  soon  collapsed 

stimulates    the    Irish    bard    to    excellence,    nor  for  want  of  funds.— Petrie,  in  O'Curry,  vol.   iii. 

rewards  him  when  it  is  attained  ;  and  the  decline  p.  294.      Bunting,  coll.  1840,  p.  65. 


52 


MUSICAL    INSTEUMENTS 


the  master  of  the  original  school.  Edward  MacBride,  who  was  the  first 
teacher,  remained  until  1822.  Valentine  Rainey  or  Reanney/  a  nephew 
of  the  poet  Burns,  succeeded  him  in  1823,  and  continued  master  of  the 
school  until  his  death  in  1837.  James  Jackson  was  appointed  teacher  in 
1838.^  The  society,  even  then  in  a  declining  state — for  after  August  1839 
only  two  boys  were  receiving  instruction — soon  afterwards  came  to  an 
end.^  The  harpers,  who,  some  forty  years  since,  were  to  be  heard  in 
the  streets  of  Dublin,  were  probably  instructed  by  the  Belfast  Society  :  * 
they  must  all  have  passed  away,  as  there  is  now  not  a  performer  on 
the  instrument  to  be  found." 

"  Mute  !  mute  the  Harp  !  and  lost  the  magic  art 
Which  roused  to  rapture  each  Milesian  heart ! 
In  cold  and  rust  the  lifeless  strings  decay, 
And  all  their  soul  of  song  has  died  away." 


1  MacBride  and  Reanney  were  two  of  tlie  four 
harpers  who  performed  before  George  iv.  on  the 
occasion  of  his  dining  at  the  Mansion  House, 
Dublin,  August  1821.  The  other  two  harpers 
were  James  MacMouagal  and  John  MacLoghliu. 
The  last  mentioned,  one  of  the  Belfast  School, 
was  seated  before  O'Connell  upon  the  triumphal  car 
on  which  the  "  Liberator  "  was  drawn  through  the 
streets  of  Dublin  after  the  passing  of  the  Emanci- 
pation Act  in  1829.  The  harp  upon  which  he  jilayed 
upon  that  occasion  was  afterwards  iu  the  possession 
of  Dr.  Petrie.  A  copy  of  the  programme  of  music 
performed  by  these  four  harpers  is  in  the  posses- 
sion of  E.  W.  Hennell,  Esq.,  who  has  kindly 
allowed  the  writer  to  have  it  reproduced  in 
facsimile. 

-  Ulster  Journal  of  Archseology,  vol.  vii.  part  i., 
Bunting,  coll.  1840.     Rainey  was  almost  totally 


blind   and   .Jackson  slightly   so. — Communicated 
by  Mr.  T.  Smyth. 

3  At  the  Musical  Loan  Exhibition,  Dublin  1899, 
Exhibits  Nos.  21,  22,  23,  24,  25,  26,  and  32 
related  to  the  first  and  second  Belfast  Harp 
Societies.  One  of  the  Harps  supplied  to  the 
Belfast  Society,  between  1822  and  1830,  by 
Egan  of  Dublin,  is  in  the  writer's  possession. 
Upon  the  right-hand  side  of  the  sounding-board 
are  deeply  scratched  letters  and  marks,  indicat- 
ing the  notes  to  which  the  strings  were  tuned 
— perhaps  to  be  fingered  by  a  blind  boy,  as  an 
early  lesson,  while  the  fingers  of  his  left  hand 
jiulled  the  string.s.  These  marks  may  be  seen 
upon  the  illustration — see  frontispiece.  If  these 
letters  are  correct,  the  following  is  the  tuning 
adopted  by  Rainey  for  this  unusually  large  instru- 
ment. There  are  twenty-one  strings  with  letters  ; 
the  first  string,  iu  the  treble,  is  marked  B. 


^ 


BUNTING'S     SCALE    FOR    A  HAEP    WITH    THIRTY    STRINGS. 


± 


-*  •  SCAI 


Jrr.iirnmiui'H-rr^^ffc 


SCALE    OF    EGAN'S    WIRE-STRUNG    HAEP    AND   SUPPOSED    TUNING. 


'  O'Curry  in  his  lectures  refers,  in  the  following 
words,  to  the  want  of  kindly  encouragement,  or  even 
toleration,  these  last  representatives  of  the  ancient 
harpers  received  from  the  Irish  of  his  day  :  "  Why 
have  we  banished  to  contempt,  to  poverty,  and 
to  the  pauper's  grave,  the  ever  good-humoured 
and    often    talented,    though   in    their    neglected 


state  but  too  ill-instructed,  vrandering  profes.sors 
of  this,  the  proudest  remnant  of  our  ancient 
inheritance  ?  " — Vol.  iii.  p.  406. 

"  In  1897,  when  the  first  Feis  Cevil  was  about 
to  take  place,  the  writer,  understanding  that  a 
prize  had  been  offered  for  the  best  performance 
upon  the  wire-strung  harji,  requested  that  a  seat 


I    IRISH    MELODIES, 


•'ii 


I  UOM 


THE    WORKS 


;^  THOMAS    CONNFXLAN,     TERVaCE    CAROLAN,     1^  ^' 

ja  CHARLES  MAC  GAURAN.  CARROLL  O  DALY,          »  ''^ 

1  AND  OTHERS.                                     •     »^ 

I  eminent  in  IL^iit  Coinirosittons,       |J[  ■ 


a  ^^ 


eminent  in  2t))rtc  Coinirosittons, 

HUMBLY  OFFKRED  TO  BE  PLAYED  BEFORE 

HIS     MOST    GRACIOUS     MAJESTY 

Iking  gkokge  the  fourth, 

AT  TpE  MAYORALTY-HOUSE, 

BY  Ills  MOST  nVMRLE  jtyU  VSarjIlGHLY  HONORED  SF.RI'yiVTS, 

»  VALENTINE    REANNEY.    AmES    MAC    MONAGAL. 
®       Ei>Wf»  MAO  BRIDE,  and  JOHN  MAC  LOlaHLLN, 


^ 

r 


mi. 


Him'-  I 


■fili|',iii|riif.|i(j|i|ii 


•/'i^i"^  ■'-^^  ,->»->---- /^-ii^     •    »'     ^'^^^-^^    '-^-S-X!/^, 


i'^w 


■■■■■■■" "'-■■"•'S|i^  '       .  '■w';?^«B»j;^?iw;|-"'"'  I......  I '...    ..... 


— ?-|-^ 


^^aSssas 


-^  h 


3:8 


^li 


I    r 


^;-i 


m 


IRISH    MELODIES, 


our  King. 


Dill/, 
tier. 


3;o  ii'lu-4(U)3  'Pia  ,itt  Tl\% 
lu  Vv?iU^  p^-ir-tiuij  .... 

6-||iin  30  bjUiC Ivcland  for 

Viielij  .  • .S'likiigh. 

'^Odjui  ni  Culpit^' A/fcy   Mac  Calpln. 

Clipaii  V-iO)    jOOc-V*   • Bumper  'S(/>iire  Jones. 

6lMnO|ia   |iO|iiiMi) Eleonora  Roan. 

UlaCai)  t>u'JO Uluciin  ilovo. 

PU\)CY~U}%  Poju|l    .......  PUnixtA)  la  Peer. 

JH^iC)  tro  C|iO|6e  '^vJJuUlj  .  .  .  Mari/,  fhif  love! 

%\\AX)  ^eal  wo  c\\o\x>e  .  . .,  .  .  7V  </<'«'•  /"i'^  o/"  w?v  //"<?«?•'. 

pUif)CK~-t(j  trie  )!3)|i Plinixlii  Mac  Giiire. 

rtocruifi  lUpc     .V .  .  Doctor  Hart. 

pUxnoVvTuij  CciKOlJu|t    .....  Pluiixhj  Coumr. 

^Jiju'io  jun  piOJ*    •  .  .  , ^^'^■<'  '«  ^wc^     _    • 

pUi>cvcaij  Uiuipc O'liorke\  nohlc,fare. 

'^OaiV'lU-aV  CllOpCOt)    i  .  .  .  ,,Mrx.  Craftoa. 

Tif-llM  in  reuiLiij .  Celia  ^Ktlhi. 

Teuimr  Cpopcon.   .......  I'aiohin  a  Coni'erfo. 

Cailinoeuvouipce-AifiuiliM'mbO  Htc  ujj  able  fair  MaiiL 

^Xo'^<^^\\e  pub S'v  Jack. 

C^cuihi)  reijiMll  . A'/V/y  7>Tf//. 

pUtK}T*nt  ti'ic  Oeatiiiio-|iu^6  licHnj  Mac  Dermol  Roe. 
pl^ncV'Caij  TcnrtOl) Plaaxli)  Johnston: 


Plaiixt})  Pluuhef. 
l-'iaa.vlj/  Reijiioltls. 


pUi(Kvra)^  pi-ainre<it)  .  . 
pUticyraij;  tiiic  ^(u'lnoiU  . 
j;4tiuij  eo:j;4in Ga>ioue.^- 

Ceun  t>uf?  t)|i)Of    ....;...   Vtaini  (Juhh  dUisli. 

Z\%eA\\\)<x  \hji\%co%  ...... 

Cu (ls:e  ^Liy*  ^n  rjitiac  .  . 
punKfcuij;  l*c4^0(iD .... 

R.e4lr^"m  tr4)6n)e.  ......  Tlh-  Mamin^  Star. 

pUu)r|traj5  ui  RulU^a)^     ..  ll'viun  RcHiy. 

C^X^X)  41)  crusJjT)  ........  'I'lic  luHstihg  of  the  rope. 


Lord  Mayo. 

'I lie  ^rcen  IVoods  of,  Tr 

Caro/aii's  Receipt, 


.§»• 


'% 


liach: 


.•-■■^m 


THE    IRISH    HARP  53 

The  kindly  and  patriotic  effort  of  the  friends  in  India,  and  the 
noblemen  and  gentlemen  of  Belfast  and  the  neighbourhood,  to  keep 
alive  the  Irish  Harp,  and  provide  a  means  of  living  for  some  of  those 
who  had  unfortunately  been  deprived  of  sight,  for  many  reasons  did 
not  succeed.  The  blind  harper  had  been  an  institution,  as  it  were, 
for  a  lengthened  period ;  so  the  school  was  for  the  instruction  of 
the  blind.  But  a  blind  child  laboured  under  great  disadvantages : 
it  did  not  follow,  because  he  had  been  deprived  of  sight,  that  he  had 
any  of  the  necessary  qualifications  for  the  calling  for  which  he  was 
selected.  The  want  of  sight,  and  the  want  of  suitable  music,  even 
if  the  performer  could  see  and  read,  was  sufficient  to  imperil  the 
undertaking.  The  blind  boys  had  only  one  teacher  to  study  under ! 
What  a  change !  A  few  years  previously,  amongst  O'Curry's  "  de- 
generate body,"  was  one  who  had  acquired  over  one  hundred  of 
Carolan's  compositions,'  and,  no  doubt,  a  large  number  of  ancient 
melodies  besides.  To  study  under  several  such  men  was  to  acquire 
a  large  portion  of  the  unwritten  music  of  Ireland,  but  O'Curry's 
"  degenerate  body "  had  passed  away,  carrying  to  the  unknown  land 
a  wealth  of  melody  ;  and  the  blind  boys  could  only  acquire  what 
Rainey  and  his  successor  could  impart.  Dr.  Petrie,  who  writes  in  the 
kindest  manner  of  the  society  and  its  extinction,  notices  several 
reasons  for  the  failure,  but  to  the  want  of  suitable  music  he  scarcely 
gives  sufficient  prominence.  Had  Bunting  carried  out  to  the  letter 
the  instructions  he  received  in  1792,  and  continued  to  note  and  collect 
in  the  same  manner,  for  his  own  purposes,  he  could  have  produced  a 
work  with  all  the  melodies  in  the  same  keys,  and  exactly  as  he  had 
heard  them  performed  by  the  harpers.  He  did  not  do  so,  but  published 
the  melodies  for  a  keyed  insti'ument,  and,  by  changing  the  keys  and 
adding  notes,  which,  even  if  the  melodies  were  transposed,  could  not  be 

from  which  he  could  st-e  the  tiiigeriug  of  the  but  it  has  long  cUsa])peared,  and  the  Scotch  people 
performers  should  be  reserved  The  reply  was  lament  its  loss  ;  but  such  remains  of  their  ancient 
that,  after  diligent  inquiry,  the  Committee  were  minstrelsy  as  they  possess,  they,  like  true  patriots, 
forced  to  come  to  the  conclusion  that  there  was  cultivate  with  enthusiasm,  and  it  will  be  long 
not  a  performer  living.  before  Scotland  desertM  the  bagpijies  for  any 
In  1S45  the  Rev.  Thonias  Price,  an  enthusiastic  foreign  instrument,  however  melodious." — Liter- 
admirer  of  the  Welsh  Triple  Harp,  while  referring  ary  Remains,  vol.  ii.,  p.  304. 
to  the  near  extinction  of  the  Irish  Harp,  wrote  as 
follows: — "In  Scotland  the  Harp  once  existed;  '   Hunting,  coll.  IS-tO,  ji.  71. 


54  MUSICAL    INSTEUMENTS 

produced  upon  the  Harp,  rendered  the  greater  portion  of  his  life- 
work  useless  for  that  insti'ument.  The  writer  does  not  wish  to  refer 
in  an  unkind  manner  to  Bunting  :  we  owe  him  much,  but  he  lived  in 
what  may  be  called  an  improving  age ;  he  had  a  keyed  instrument 
before  him,  and  the  temptation  to  introduce  impossible  Harp  notes 
was  irresistible:  so  he  "improved  or  polished"  the  Harp  melodies, 
and  perhaps  made  them  more  acceptable  to  the  public  of  the  day. 
Bunting  did  not  kill  the  Irish  Harp,  but  he  could  have  made  it  possible 
for  it  to  live.'  He  would,  no  doubt,  have  done  so,  in  fact  would  have 
been  compelled  to  do  so,  had  there  been  in  Ireland,  as  there  is  in 
Scotland,  a  strong  Celtic  feeling  throughout  the  country."  It  was 
in  Ulster,  not  in  Munster  or  Connaught,  that  an  effort  was  made 
to  keep  the  national  instrument  alive.  Had  there  been  that  strong 
Celtic  feeling,  would  Bunting's  work  have  been  accepted  ?  Would  he 
not  have  been  told  to  "  treat  as  he  pleased  such  tunes  as  he  had 
received  from  ladies  and  gentlemen,  pipers,  fiddlers,  and  others,  but  to 
produce  the  Harp  music  as  he  had  heard  it  played  "  ? 

Now  that  the  Harp  is  lost,  an  effort  has  been  made  to  restore  the 
Irish  melodies  to  their  original  purity,'  an  effort  which,  it  is  to  be  hoped, 
will  meet  with  the  encouragement  it  so  well  deserves.  If  we  can 
no  longer  hear  the  wire-strung  Irish  Harp,  let  us  at  least  have  the 
beautiful  Harp  music,  as  it  was  played,  or  could  have  been  played,  upon 
the  national  instrument.  If  we  cannot  drink  at  the  fountain-head,  let 
us  endeavour  to  have  the  stream,  where  it  is  polluted,  filtered  and 
cleansed  from  its  impurities. 

'  In  Buuting's   early  volumes   the    individuals  immeasurably    unlike     the     Scotch !       There    is 

from    whom   he   obtained  the    melodies    are    not  scarcely  in    all    Scotland,    from    the    thrifty  and 

mentioned,    but    in    collection    1840    there    are  well-taught   labourer  and    mechanic    up   to   the 

avowedly   sixty-six    melodies   which   were    noted  lordliest  duke,  a  man  in  whose  house  volumes  of  the 

from  twelve  harpers.    Of  these  sixty-six  melodies,  noble  music  of  his  native  country,  as  well  as  every 

only  a  comparatively  small  number,  at  least  as  scrap  of   national  poetry  or  song,  both   in  Gaelic 

Bunting  published  them,  could  have  been  pl.iyed  and  English,  that  from  time  to  time  issues  from 

upon  the  instriiment.  the  press,  may  not  be  found." — Lectures,  vol.  iii. 

-  O'Curry,  when  noticing  the  scant  appreciation  p.  406. 
shown  by  his  countrymen  for  the  beautiful  music 

of  Ireland,   as  shown  by  Dr.   Petrie   being  com-  ^  See  The  Distinctive  Characteristics  of  Ancient 

pelled  to    abandon   (owing  to   want   of    support)  Irish  Melody,  a  lecture  :   Ponsonby,  Dublin  ;  also, 

the  continuance  of  the  publication   of  his  great  Nine  Irish  Melodies  for  the  Harp  or  Piano,  true 

collection  of  Irish  Airs,  concludes  with  the  follow-  to    their    Scales,   both   by   James    C.    Culwick. 

ins  sentences  :  "  How  unlike  the  English!     How  Mus.D. 


mmt 


ANCIENT      HARP.     TRINITY     COLLEGE,     DUBLIN 
Fia.te    I 


THE    IKISH    HARP 


55 


EXISTING  SPECIMENS 
THE   TRINITY   COLLEGE   HARP 

The  eai'liest  specimen  of  the  wire-strung  Harp  to  be  found  in  Ireland 
is  undoubtedly  that  preserved  in  Trinity  College,  Dublin.  The  box  of 
this  instrument  is,  as  is  usual,  cut  out  of  a  solid  block,  and  is  stated 
to  be  of  black  sallow.'  The  harmonic  curve  is  probably  of  the  same 
material,  but  the  fore-pillar  is  evidently  of  a  closer  and  harder  wood.^ 

It  is  not  the  writer's  intention  to  repeat  the  tradition  relating  to  this 
important  instrument,  as  those  intei'ested  will  find  it  fully  noticed  in 
Bunting's  Ancient  Irish  Music,  coll.  1840,  O'Curry's  Lectures,  vol.  iii.,  and 
Proceedings  of  the  Society  of  Antiquaries,  Scotland,  vol.  1880-81,  p.  23. 
By  the  kind  permission  of  the  Rev.  Thomas  K.  Abbott,  Senior  Fellow  and 
Librarian  of  Trinity  College,  the  writer  has  had  a  series  of  photographs 
specially  taken  for  the  purpose  of  illustrating  this  work;  and  subsequently, 
when  he  considered  it  necessary  to  examine  and  trace  the  Celtic  orna- 
mentation, permission  was  readily  granted  for  that  purpose. 

If  the  reader  examines  the  illustrations  and  diagrams  which  show  the 
ornamentation  on  the  harmonic  curve  and  fore-pillar,  the  following  state- 
ments will  be  more  clearly  understood.  The  left  side  ^  of  the  harmonic 
curve  was  decorated  in  a  series  of  lines,  curves,  and  circles  (Fig.  i.),  all 


of  which  were  apparently  drawn  by  a  hot  iron.  The  charring  was  not 
deep,  and  the  work  was  carefully  executed.  Over  the  different  circles, 
and  in  the  centre  of  the  spaces  between  the  two  parallel  lines  which  end 
in  curves,  there  were  most  probably  silver  bosses,  four  of  which  may  be 
seen,  and  it  should  be  noticed  that  where  x  occurs  upon  the  upper  portion, 
one  of  the  eight  circles  is  not  complete.  The  right  side  of  the  harmonic 
curve,   the   wi'iter  believes,   was   decorated   in    a   similar   manner,    but 

'  Petrie  says  red  sallow. — Bunting,  coll.  1840,  to  be  of  that  wood, 
p.  43;  Ibid.,  coll.  1809,  note,  p.  24.  ^  By   the   left   side   is   meant   the    side  which 

-  According   to    Petrie  the  pillar  is   of  oak —  would  be  nearest  to  the  left  arm  of  a  performer 

Bunting,  coll.  1840,  p.  43 — but  it  does  not  appear  when  the  instrument  is  in  use. 


56  MUSICAL    INSTRUMENTS 

no    portion    of   the    burnt   lines    can    now    be    seen.       This    side    was 
enriched  by  silver  bosses  in  the  centres  of  the  panels  and  upon  the  circles, 
one   of  which   remains,   and    also    by  a   row  of  nineteen   silver   knobs 
underneath  the  metal  band,  through  which  the  tuning-pegs  pass  (Fig.  ii.). 
The  reader  may  remark  that  what  has  been  noticed  as  occurring  upon 
the  left  side,  that  is,   the   appearance    of  a    semicircle,    is  also   found 
upon  this  side  where  the  x  occurs  upon  the  diagram.      It  appears  that 
the  upper  portion  of  the  harmonic  curve  where  these  semicircles  occur 
has  been  injured  or  removed,  which  accounts  for  the  non-appearance  of 
a  complete  circle  upon  each  side.'    When  the  harmonic  curve  rises  from 
the  box,  the  upper  portion  is  rounded,  then  slightly  flattened.     This 
flattening  diminishes  and  ends  above  the  half  circles  before  mentioned, 
from  which  to  the  termination  at  the  bass   it  is  pointed.      The  end  of 
the  harmonic  curve  being  now  covered  by  a  silver  enrichment,  it  cannot 
be  stated  whether  underneath  the  metal  any  of  the  original  ornamenta- 
tion is  preserved  or  not.    The  metal  bands  through  which  the  tuning-pegs 
pass  form  single  curves,  and  are  ornamented  both  above  and  below  the 
pegs  by  bands  or  ribbons  on  which  diagonal  lines  are  engraved.     Under- 
neath the  harmonic  curve  there  is  a  boldly  executed  moulding  (Plate, 
Nos.    5   and  6).     Both  the  sounding-board  and  sides  of  the   box   are 
ornamented  by  burnt  lines,  curves,  and  circles.     Here  the  ornamenta- 
tion  does   not   appear    to  have   been   geometrically   accurate,   but    the 
designs  are  most  elaborate  and  varied  (Plate,  Nos.  1,  2,  and  3).     It  may 
be  concluded  that  the  sounding-board  was  flat,  as  it  still  is  at  the  lower 
extremity ;  the  rise  which  is  now  seen  in  the  centre  has  been  caused  by 
the  tension  of  the  strings.     The  raised  string  band  terminates  at  the  upper 
extremity  and  upon  either  side  in  semicircular  curves.     The  holes  for  the 
strings  are  protected  by  metal  "shoes  of  the  strings,"  most  of  which  are 
wrought  and  of  good  form  and  in  high  relief,  but  are  irregularly  placed 
(see  p.  29).    At  present  the  two  lowest  holes  in  the  string  band  are  modern, 
the  last  being  ^  of  an  inch  lower  than  it  should  be.    The  box  and  harmonic 
curve  of  this  Harp  are  undoubtedly  of  great  antiquity.     The  fore-pillar 
is  curved ;  the  terminations  of  the  T  formation,  like  those  on  the  Queen 
Mary  Harp,  resemble  heads  of  reptiles  or  fishes.     What  may  be  termed 
eyes,  although  prominent,  are  not  so  distinctly  prominent  as  those  upon  the 

1  This  portion  of  the  liannouic  curve  has  been  injudiciously  repaired. 


THE    IRISH    HARP 


ANCIENT   HAEP,   TRINITY   COLLEGE,    DUBLIN. 


3  O  o 


2.  Right  side  of  box. 


From  gelatine  tracings  and  rubbings. 
1.  Sounding-board. 


3.  Left  side  of  box. 


4.  Incised  ornament,  inner  curve  of  fore-pillar. 


5.   Moulding  under  harmonic  curve.  6.   Section. 


THE    lEISH    HARP 


57 


"  Queen  Mary  "  Harp,  but  the  turned-up  lips  or  snouts  are  even  more  so. 
This  description  of  the  fore-arm  is  sufficient  for  the  present.  If  it  is  the 
fore-arm  originally  supplied,  it  was  probably  without  decoration.  The 
Harp  when  it  left  the  maker's  and  decorator's  hands  must  have  been 
a  most  beautiful  instrument. 

Subsequent  to,  and  long  after,  its  construction,  this  harp  passed 
through  the  hands  of  a  decorator  by  whom  all,  or  a  large  portion  of,  the 
ornamentation  of  the  fore-pillar  was  executed.  The  inner  curve  was 
finely  ornamented,  the  Celtic  design  (Plate,  No.  4)  being  deeply  incised, 
and  the  surface  at  regular  intervals  enriched  by  staining  or  burning. 
Upon  the  upper  portion  of  the  left  side,  above  the  T  formation,  there  are 
two  animals,  probably  wolf-dogs,  both  with  heads  turned  backwards  ; 
the  tail  of  that  to  the  right  passes  between  its  legs  and  body  (Fig.  in.). 
Upon  the  lower  portion  of  this  side  the  heads,  legs,  and  clawed  feet  of  two 
creatures,  dogs  or  wolves,  may  be  seen  (Fig.  iv.). 

Fig,  IV. 


Fig.  III. 


Fig.  VI. 


Fig.  v. 


Upon  the  upper  portion  of  the  right  side,  above  the  T  formation,  two 
creatures  are  represented.  One  a  lion  with  an  enormously  bushy  tail  is 
shown  as  seizing  a  reptile  by  the  claws  of  its  forefeet.  The  reptile's 
head  is  turned  upwards,  and  its  snakelike  tail  is  curled  over  the  left 
hind  leg  of  the  lion  (Fig.  v.).  Upon  the  lower  portion  of  this  side  are  two 
wild  boars  or  hogs  sitting  upon  their  haunches  face  to  face  (Fig.  vi.).^ 
These  grotesque  animals  are  represented  by  incised  lines,  also  by 
engraved  lines  and  dots,  and  are  surrounded  by  oval  lines,  almost  circles, 
which  are  also  incised. 

Much  of  the  fore-pillar  was  profusely  decorated  in  interlaced  and 
other  patterns  of  great  beauty.  It  would  appear  that  this  ornamenta- 
tion was  an  afterthought ;  none  of  it  is  in  relief,  the  greater  portion  of 

1  The  four  drawings  are  from  gelatine  tracings.       harp  rests  upon  the  back  of  the  box. 
The  animals  are  shown  as  they  appear  when  the 


58 


MUSICAL    INSTEUMENTS 


FIG 


the  patterns  are  shown  by  incised  lines,  and  the  remainder  by  what  may 
perhaps  be  termed  engraving  upon  wood.  The  artist,  in  executing  this 
work,  carefully  avoided  the  eyes  of  the  reptiles  or  fishes  before  noticed. 

The  silver  enrichment  which  covers  the  termination  of  the  harmonic 
curve  probably  belongs  to  this  period.  It  is  a  singularly  fine  piece  of 
metal-work,  and  deserves  to  be  specially  noticed.  The  front  is  in  the 
form  of  a  parallelogram  surmounted  by  a  triangle.  Within  this  triangle 
there  is  a  setting  which  still  contains  a  crystal  cabochon  cut ;  beneath 

this  crystal  and  within  the  parallelogram 
there  is  an  oval  setting  from  which  the 
stone  has  been  lost  or  removed.  At  each 
of  the  three  angles  there  are  bosses  in 
the  form  of  blackberries,  and  where  the 
two  settings  meet,  and  at  either  side, 
are  three  similar  bosses  with  a  plain  boss 
in  the  centre  of  each  (Fig.  vii.).  The 
battlemented  border  and  sides  are  well 
executed  (Fig.  vni.). 

At  a  later  pei'iod  this  Harp  passed 
through  the  hands  of  another  decorator, 
and  his  work  can  be  easily  detected.  On 
the  left  side  of  the  harmonic  curve,  where 
the  silver  bosses  had  fallen  ofi"  or  been 
removed,  incised  ornamentation  will  be 
found.  The  I.  H.  C.  >  and  all  the  other 
incised  ornamentation  was  then  executed. 
Examining  the  right  side,  we  find  the 
whole  of  the  ornamentation  incised.  Pro- 
bably at  the  same  time  a  considerable 
portion  of  the  incised  ornamentation  was 
added  to  the  sides  of  the  fore-pillar.'^ 
In  front  of  the  fore-pillar,  and  in  the  centre  of  the  T  formation, 
there  is  a  rudely  made  cavity  which  was  probably  intended  to  contain 

>  This  13  O'Curry's  reading. — Lectures,  vol.  iii.       side  is  failed  with  some  white  composition.      It 
p.  276.  is  the  writer's   opinion  that  this  is   some  of  the 

plaster  that  adhered  when  the  cast,  to  be  here- 
2  Much  of  the  incised  ornament   on  the  right       after  referred  to,  was  taken. 


o 
o 


a: 
'x 


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a 


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I 


u 
< 


THE    IRISH    HAEP  59 

a  setting  or  metal  enrichment.  The  centre  of  the  reptile's  head  at 
the  lower  end  is  also  hollowed  out.  These  cavities  were  certainly 
made  after  the  ornamentation  of  the  fore-pillar  was  completed.  The 
small  silver  badge  with  the  right  hand  which  has  so  curious  a  history ' 
was  attached  by  nails  to  the  centre  of  the  reptile's  head  at  the  upper 
end  after  the  ornamentation  had  been  completed.  The  redecorators 
were  content  to  apply  their  art  to  the  harmonic  curve  and  the  fore- 
pillar.     The  box  was  left  intact. 

Mr.  Edward  Bunting  employed  an  artist  to  make  three  drawings  of 
the  Harp  upon  a  fairly  large  scale,  and  these  were  engraved  for  the  third 
collection  of  his  Ancient  Music  of  Ireland,  1840.  Bunting's  illustrator 
must  have  had  ample  opportunity  of  studyuig  the  Harp ;  in  fact,  the 
drawings  must  have  cost  much  time  and  labour ;  and  it  would  be 
interesting  if  they  could  be  traced,  as  the  engravings  are  not  as 
accurate  as  could  be  wished.  The  ornamentation  on  the  box  had  at 
this  period  not  been  tampered  with,  and  there  is  no  reason  to  suppose 
that  Bunting's  artist  tampered  with  it  in  any  way. 

Some  time  after  Bunting's  artist  had  completed  his  drawings,  the 
Harp  being  in  a  dilapidated  state,  it  was  considered  desirable  to  have 
it  repaired.  The  person  employed  was  unaware  that  upon  some  speci- 
mens, when  the  fore-pillars  are  considerably  curved,  the  direct  tension 
of  the  strings  has  drawn  the  harmonic  curves  downwards  and  slightly 
shortened  the  fore-pillars.-  He  was  also  unaware  of  the  object  of  the 
T  formation  ;  so  he  lengthened  the  lower  portion  of  the  fore-pillar  some 
four  inches,^  and  destroyed  the  symmetry  of  the  Harp  (Figs.  ix.  and  x.) 

Were  the  lengthening  of  the  fore-pillar  the  only  injury  done  to 
the  Harp,  it  would  be  of  little  consequence ;  such  injury  could  be 
rectified.  But  unfortunately  that  is  not  so,  and  it  is  the  writer's 
duty  to  draw  attention  to   the  fact  that  the  Celtic  ornamentation  of 

■  Thi3   badge,   which    is    stated    to    be    bronze  other  suitable  place, 
covered  with  silver,  is  illustrated  in  the  Journal,  .>  ^j^j^  ^j,j  ^^  j^^^^,  ^^  j,,^^,^  occurred  upon  the 

Historical  and  Archaeological  Association  of  Ire-  Lament,    the    "Queen    Mary,"   and   the    Kildare 

land,   vol.     IS-U-TS,    j.     498  ;    Journal  of    Royal  ^^^^^^       ^,^g  exceptions  are  the  Castle   Ffogerty 

Society  of  Antiquaries,  Ireland,  vol.  1S90,  p.  282,  ^^^^    ^^^^j^    q^^^^    ^^^^^^^    ^^^^-^^    ^ugt    ^ave 

where  its  supposed  discovery  with  chain  armour  ^^^^u^Hy  gt„„g  fore-pillars. 
in  the  Phcenix  Park  and  its   subsequent  restora- 
tion are  related.      If  this  ancient  badge  originally  ^  Had  the  fore-pillar  been  origin.ally  constructed 

belonged  to  the  Harp  it  was  probably  attached  to  as  it  now  is,  it  would  undoubtedly  have  broken 

the   end  of  the  harmonic  curve,  there   being  no  at  the  lower  end. 


60 


MUSICAL    INSTRUMENTS 


the  box  has  been  extensively  tampered  with.  Of  this  there  can  be 
no  question:  the  false  lines,  etc.,  can  be  detected  by  viewing  the 
right  side  of  the  sounding-board  obliquely  from  the  lower  end.  When 
so  examined,  slightly  indented  lines  may  be  seen.     These  are  the  true 


FIG.  TX 


The  Harp  in  its  present  distorted  state.     The  measurements  are  given  in  inches. 


FIG.  X 


Probable  form  of  the  Harp  before  it  passed  through  the  hands  of  the  restorers. 

lines,  and  when  these  lines  do  not  correspond  with  others,  the  latter 
have  been  painted  and  are  false.  Again,  on  the  right-hand  side  of 
the  sounding-board  a  portion  of  the  angle  of  the  box  has  been  worn 
away  by  the  friction  of  the  arm  or  wrist ;  here  the  ornamentation  has 


THE    IRISH    HAEP  61 

been  painted.  The  person  who  so  tampered  with  the  instrument  was 
apparently  dissatisfied  at  not  finding  the  ornamentation  geometrically 
accurate,  and  so  had  the  audacity  not  only  to  correct  the  work  of 
the  original  artist,  but  to  add  what  pleased  himself  to  the  original 
design.'  When  making  the  tracings  from  which  the  illustration  has 
been  taken,  the  writer  laboured  under  serious  difficulties,  so  he  cannot 
be  certain  that  all  the  lines  shown  on  the  illustration  are  genuine, 
or  that  no  genuine  lines  have  been  omitted.^  So  seriously  has  the 
ornamentation  been  tampered  with,  that  it  would  now  require  a  long  and 
careful  examination  of  the  ornamentation  in  varied  light,  with  every 
possible  convenience,  before  the  whole  of  the  genuine  lines  could  be  traced. 

The  left  side  of  the  sounding-board  is  much  decayed,  and  has  been 
badly  repaired."  Upon  the  upper  portion  there  is  scarcely  a  vestige  of 
decoration,  although  there  can  be  no  doubt  the  ornamentation  is  mainly 
hid  by  the  dirt  of  ages.  The  design  which  is  surrounded  by  the  circle 
is  distinctly  different  from  that  within  the  corresponding  circle  upon  the 
right  side.  The  lower  portion  of  this  side  of  the  sounding-board  has 
been  scraped  or  cleaned,  and  it  is  diiEcult  to  say  whether  or  not  it  has 
been  tampered  with  to  any  great  extent. 

There  are  four  sound-holes :  the  two  lower  ones  are  not  at  equal 
distances  from  the  lower  extremity  of  the  box.  The  edges  of  these 
sound-holes  are  more  or  less  decayed.  It  has  been  supposed  that  they 
had  had  metal  enrichments ;  one  small  nail  may  certainly  be  seen,  but, 
in  the  absence  of  a  series  of  nail  holes,  the  writer  does  not  consider 
that  sufficient  evidence  of  any  such  ornamentation.* 

The  ornamentation  upon  the  right  side  of  the  box  has  been  tampered 
with  to  a  large  extent.  Examining  the  left  side  of  the  box,  the 
ornamentation  will  be  found  to  be  as  when  it  left  the  hands  of  the 
original  decorator. 

'  The  lines,  curves,  and  circles,  if  painted  in  shavings  to  the  back  of  the  sounding-board,  dove- 
water-colour,  as  they  apparently  have  been,  could  tailed  pieces  vifei-e  let  into  the  decayed  wood,  and 
probably  not  be  removed,  putty  used  without  stint,  and  in  the  coarsest  and 

^  That  portion  of  the  ornamentation  surrounding  clumsiest  manner, 
the  lower  sound-hole  has  been  drawn  and  redrawn,  *  Dr.  Lynch  informs  us  that  it  was  through  the 

and  so  seriously  tampered  with,   that  to  a  large  sound-holes  the  wooden  pegs  when  attached  to  the 

extent  the  writer  had  to  omit  it.     It  is,  however,  strings  were  passed.      The  string-holes  are  large, 

given  by  Bunting,  coll.  1840.  but  not  sufficiently  large  to  admit  of  pegs  being 

^  The  state  of  this  portion  of  the  Harp  is  most  jiassed  through  them  ;    so,  were  the  sound-holes 

dejilorable.       lu  place    of   glueing  linen   bauds  or  covered,  the  harp  could  not  easily  b'e  restrung. 


62  MUSICAL    INSTEUMENTS 

There  are  thirty  peg-holes.  Most  of  the  pegs  are  in  their  places 
and  are  ornamented.  The  ends  of  the  metal  bands  through  which  these 
pegs  pass  are  under  the  silver  enrichment,  but  from  careful  examination 
it  is  evident  that  these  bands  extend  sufficiently  to  allow  of  the  thirtieth 
tuning-peg  passing  through  the  ends  only.  If  the  ornamented  ribbons 
which  appear  on  both  bands  above  and  below  the  tuning-pegs  are  also 
carried  round  the  bass  terminations,  the  Harp,  as  in  the  case  of  the 
Queen  Mary  Harp,  had  probably  originally  twenty-nine  strings,  and  the 
thirtieth  tuning-peg  is  an  addition ;  but  in  consequence  of  the  decay  of 
the  lower  portion  of  the  raised  string  band,  and  the  ends  of  the  bands 
being  now  covered,  no  positive  statement  as  to  the  original  number  of 
strings  can  be  made. 

As  the  Harp  is  at  present,  the  shortest  string  is  3  inches.  Originally, 
the  shortest  string  was  probably  2f  inches.  As  the  Harp  is  at  present, 
the  longest  string  is  27|-  inches.  Originally,  the  longest  string  was 
probably  25f  inches. 

The  thickness  of  the  sounding-board  is  rather  less  than  \  of  an  inch. 
The  thickness  of  the  sides  of  the  box  near  the  lower  end,  and  where  the 
board  at  the  back  is  fastened  to  them,  is  f  of  an  inch,  but  the  sides 
diminish  in  thickness,  and  become  much  thinner  before  the  sounding- 
board  is  reached.  The  greatest  breadth  of  the  T  formation  is  2|  inches. 
For  other  measurements  of  the  Harp  in  its  present  state,  the  reader 
must  examine  Fig.  ix. 

This  Harp,  which  was  last  played  upon  through  the  streets  of  Limerick 
in  1760  by  a  celebrated  harper,  Arthur  O'Neill,^  although  badly  restored 
and  deplorably  tampered  with,  must  always  be  an  object  of  the  deepest 
interest,  not  only  to  those  of  our  own  time,  but  to  future  generations. 

Besides  the  illustrations  in  Bunting's  Irish  Music  already  noticed, 
engravings  have  appeared  in  Walker's  Irish  Bards,  the  Encyclopaedia 
Britannica,  Encyclopaedia  Londinensis,  Rees'  Encyclopaedia,  Camden's 
Britannia,  ed.  1806,^  Ledwich's  Antiquities  of  Ireland,  Dublin  Penny 
Journal,^  the  Book  of  the  Club  of  the  True  Highlanders,  and  other  works, 
but  they  are  of  scarcely  any  value  or  interest.  That  which  appears  in 
Mr.  and  Mrs.  S.  C.  Hall's  Ireland,  vol.  ii.  p.  410,  is  specially  incorrect. 

1  Bunting,  coll.  1840,  p.  4.  ^  Vol.  i.  p.  48.      Reversed, 

2  This  engraving  is  reversed. 


RIGHTSIDE,  FRONT, 

BRASS      MOUNTINGS       FOR      A      HARP      FOUND      AT 
BALLINDERRY,    KINGS      COUNTY, 


THE    IRISH    HARP  63 

THE    CAST 

If  the  so-called  casts  which  may  be  seen  in  our  Museums  are  examined, 
the  ornamentation  upon  the  box  will  be  found  to  be  incised.     The  orna- 
mentation upon  both  sides  of  the  sounding-board  is  the  same,  but  upon  the 
Harp  the  ornamentation  upon  the  sides  of  the  sounding-board  is  to  some 
extent  different.    The  ornamentation  upon  the  right  and  left  sides  of  the 
box  is  upon  the  cast  the  same,  that  is,  the  ornamentation  of  the  right  side 
of  the  box  of  the  Harp,  which  the  writer  has  already  stated  has  been 
painted  over,  has  been  reproduced  upon  both  sides  of  the  cast,  although  the 
ornamentation  upon  the  left  side  of  the  Harp  is  different.'     Upon  one  of 
these  so-called  casts  the  end  of  the  box  is  covered  with  spurious  orna- 
mentation ;  the  absurd  addition  to  the  fore-pillar  and  the  sham  projecting- 
block  are  also  covered  with  spurious  ornamentation.     The  cavities  upon 
the  front  of  the  fore-pillars  are  filled  up  and    covered  with  spurious 
ornamentation;  and  the  semicircles  marked  x  (Figs.  i.  and  ii.),  which 
occur  upon  either  side  of  the  harmonic  curve,   are  replaced   by  small 
circles ;  upon  another  of  these  so-called  casts  the  setting  from  which  the 
crystal  is  missing  is  furnished  with  a  gem  cut  in  facets !     To  show  the 
mischief  which    may    be  caused    by  these  casts,    one  of  these  plaster 
abominations    has  been    engraved  for  the  Proceedings    of  an  important 
Archaeological  Society  to  illustrate  a  paper  by  one  of  its  members,  the 
society  being    of  course    unaware   that  the  side  of  the    box    so    repre- 
sented showed  ornamentation  different  from  that  upon  the  Harp,  and 
that  much  of  the  other  ornamentation  represented  is  spurious.      If  a 
cast  of  an  object  of  interest  is  to  be  of  value,  it  should  be  absolutely 
correct ;  a  drawing  may  not  be  so,  but  a  cast,  until  it  is  proved  to  be 
worthless,  is  accepted  as  a  facsimile. 

HARP    MOUNTINGS    FOUND  AT    BALLINDERRY 

In  the  National  Museum,  Dublin,  may  be  seen  in  a  singularly  fine 
state  of  preservation  the  brass  mountings  for  an  Irish  Harp  from  the 
Crannog  of  Balhnderry  near  Moat,  King's  County. 

For  the  termination  of  the  harmonic  curve  there  is  an  enrichment, 
the  front  end  of  which  is  triangular  in  form  (see  illustration).  Upon 
the  front  is  the  monogram  I.  H.  S.  surmounted  by  a  cross,  and  beneath 

'  The  writer  thinks  it  necessary  to  draw  atten-        side  of  the  box  has  not  been  tampered  with,  and 
tinu  to  the  fact  that  the  oruamentatioii  of  the  left       that  it  has  not  been  reproduced  upon  the  cast. 


64 


MUSICAL    INSTEUMENTS 


an  interlaced  cross  enclosed  in  a  circle.     This  triangular  front  is  6|-  inches 

long,  the  lower  side  of  the  ti'iangle  being 
2f  inches  broad.  Attached  to  the  edges 
of  this  triangular  face  by  five  nails  with 
ornamented  heads  there  is  an  elaborately 
wrought  border  or  frame.  The  sides  of 
this  termination  without  the  border  are  1-g- 
inches  broad/  each  side  having  differently 
engraved  patterns.  Upon  the  right  side 
there  is  a  brass  support  for  strengthening 
and  retaining  in  position  the  harmonic 
curve  and  the  fore-pillar  (see  illustration). 
This  support,  which  is  ^\  inches  long  by 
2^  at  the  widest  part,  is  pierced  in  the 
centre  in  the  form  of  a  cross.  The  upper 
termination  of  the  support  is  a  dragon- 
esque  head  ;  the  lower  portion  divides  and 
curves  outwardly  ;  the  termination  of  each 
end  resembles  the  head  of  a  bird.  That 
nearest  to  the  triangular  termination  is 
somewhat  shorter,  to  allow  for  the  com- 
mencement of  the  T  formation.  The 
bands  for  strengthening  the  harmonic 
curve  upon  either  side,  pierced  for  thii'ty- 
six  tuning-pegs,  form  single  curves  and 
are  ornamented,  as  are  also  the  tuning- 
pegs.  The  measurement  from  the  first 
tuning-peg  in  the  treble  to  the  triangular 
face  is  19  inches. 

These  brass  mountings  (the  property  of  the  Royal  Irish  Academy), 
probably  late  sixteenth  century,  were  either  attached  to  or  intended  for 
a  Harp  of  a  large  size,  perhaps  five  feet  in  height.  At  present  they  are 
placed  upon  a  model,  and  the  tuning-pegs,  almost  all  of  which  are  extant, 
are  inserted  in  the  respective  holes.  These  mountings  are  exceptionally 
fine,  finer  than  any  other  known  specimens.  The  border  or  frame 
attached  to  the  triangular  termination  is  deserving  of  special  notice. 

'  The  border  rises  §  inch  ;  the  heads  of  the  nails  are  |  inch  above  the  border. 


LOWER  END 


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THE    lEISH    HAEP 


65 


THE   FITZGERALD   OR   DAT.WAY    HARP 
(The  Property  of  the  Royal  Irish  Academy) 


Fig.  I. 


The  remains  of  this  splendid  instrument,  generally  known  as  the 
Dalway  Harp  from  having  been  long  in  the  possession  of  the  family  of 
that  name  in  the  county  of  Antrim, 
is  now  in  the  Dublin  Museum.  It 
was  made  in  1621  for  Sir  John  Fitz- 
Edmond  Fitzgerald  of  Cloyne,  County 
Cork,  who  married  Ellen  Barry, 
daughter  of  Viscount  Buttevant.  Of 
this  Harp,  the  harmonic  curve  and  the 
greater  part  of  the  fore-pillar  are  the 
only  jjortions  that  remain.  The  har- 
monic curve,  according  to  Bunting,  is 
of  yew,  and  is  wonderfully  preserved, 
having  escaped  the  ravages  of  the 
desti'uctive  worms  which  have  com- 
pletely riddled  the  beautiful  fore-pillar. 
The  harmonic  curve  and  fore-pillar 
are  elaborately  carved  in  relief,  the 
carvings  being  tinted  probably  in  oil- 
colour. 

The  design  is  most  unusual.  Upon 
either  side  and  within  panels  extend- 
ing almost  the  full  length  of  the 
harmonic  curve,  a  number  of  animals 
and  reptiles  appear  in  the  act  of 
escaping  from,  or  having  issued  from, 
,  Fig.  II.  f////////////A  the  open 
jaws  of  a 
wolf      or 

dog,  while  beneath  the  extreme  end  of  the  harmonic  curve  a  crowned 
queen  with  sceptre  (Fig.  i.)  is  represented  in  high  relief.      Above,  but 

I 


66 


MUSICAL    INSTEUMENTS 


farther  back,  are  side  by  side  two  creatures 
Fig.  III.  I  pv'll  ,,  ;  Fig.  iv.  with  heads,  wings,  two  legs,  and  long,  snake- 
like tails,  also  in  high  relief;  that  upon  the  left 
side  has  a  cock's  head,  and  may  have  been 
intended  for  a  cockatrice,  tha,t  upon  the  right 
side  is  dragonesque,  perhaps  a  wyvern.  Along 
the  under  side  of  the  harmonic  curve  there  is  a 
23lain  moulding  in  relief  in  the  form  of  an 
elongated  panel  (Fig.  ii.).  Upon  the  right  side 
of  the  fore-pillar,  and  at  the  lower  termination, 
there  is  also  a  panel  upon  which  are  represented 
a  camel  and  a  goat,  above  which  and  extending 
to  the  upper  termination  of  the  T  projection 
there  is  a  beautiful  foliaceous  pattern,  and 
towards  the  upper  extremity  a  panel  upon  which 
a  number  of  animals  are  represented,  all  ap- 
parently with  cloven  hoofs.'  Along  the  flange 
or  back  of  the  T  formation  there  is  a  fine  design 
|^;p!  representing  pomegi'anates  and  leaves  alter- 
nately, worked  out  by  incised  work  and  en- 
graved lines.  This  pattern,  which  is  almost 
entire,  is  also  enriched  by  colour  (Fig.  iv.). 
Upon  a  panel  at  the  lower  extremity  of  the 
left  side  of  the  curved  fore-pillar,  two  beavers 
are  represented  in  low  relief  Above  this  panel, 
issuing  from  the  open  jaws  of  a  wolf,  there  is  a 
most  elaborate  and  beautiful  foliaceous  pattern 
which  is  continued  to  the  upper  termination  of 
the  T  projection,  above  which  and  within  a  panel 
is  represented  a  stag  and  ape,^  the  latter  with 
a  band  surrounding  the  body,  to  which  a  long 
chain  is  attached.  Along  the  flange  or  back  of 
the  T  formation  there  is  an  ornamental  design 
of  flowers   and    leaves  shown   by  incised  and 

the  Harp  rested  upon  the  back  of  the  box. 
■  The    animals    Ujion    both   sides  of  the   fore-  ^  I'jiis    panel    was    completfi    when    Bunting's 

arm  could  only  have   been  properly   seen   when       illustrator  drew  the  Harp  about  1801). 


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THE    lEISH    HAEP  67 

engraved  lines,  and  enriched  by  colour.  Only  a  portion  of  this  pattern 
now  remains  (Fig.  iii.).  Upon  the  upper  portion  of  the  front  of  the 
fore-pillar  is  the  date  1621,  belowwhich  are  the  Eoyal  arms;  those  of 
Ireland — a  Harp  of  the  form  then  in  use — occupying  the  fourth  quarter, 
beneath  which  are  the  arms  of  Sir  John  Fitzgerald  of  Cloyne  impaled 
with  those  of  his  wife,  surmounted  by  a  helmet,  crest,  and  manteling, 
and  with  the  mottoes  "Virescit  vulnere  virtus,"  and  "  Boutez  en  avant," 
carved  underneath.  Upon  the  remainder  of  the  front  are  three  panels 
enclosing  patterns  in  low  relief  The  T  formation  terminates  in  a 
very  delicate  interlaced  pattern.  This  pattern  extends  to  the  back,  and 
forms  the  termination  of  the  flange  upon  either  side.  The  termination 
of  the  fore-pillar  is  also  ornamented.  The  back  of  the  fore-pUlar  is 
almost  wholly  covered  by  an  inscription.  This  Harp  is  rich  in  inscrip- 
tions in  Irish  and  Latin.  The  former,  as  translated  by  O'Curry,  are  here 
reprinted : — 

"  These  are  they  who  were  servitors  to  John  Fitz  Edmond  [Fitz 
Gerald],  at  Cluain  [Cloyne],  at  the  time  that  I  was  made,  viz.  the  Steward 
there  was  James  Fitz  John,  and  Maurice  Walsh  was  our  Superintendent ; 
and  Dermod  Fitz  John,  Wine  Butler ;  and  John  Ruadhan  was  Beer 
Butler ;  and  Philip  Fitz  Donnel  was  Cook  there.  Anno  Domini  1621.' 

'  Theige  O'Ruarc  was  Chamberlain  there,  and  James  Russel  was  House 
Marshal ;  and  Maurice  Fitz  Thomas  and  Maurice  Fitz  Edmond ;  these 
were  all  discreet  attendants  upon  him.  Philip  Fitzteigh  Magrath  was 
Tailor  there ;  Donnchadh  Fitz  Teigh  was  his  Carpenter, — it  was  he 
that  made  me." 

"  GioUapatrick  Mac  Cridan  was  my  Musician  and  Harmonist ;  and  if  I 
could  have  found  a  better,  him  should  I  have,  and  Dermot  M'^Cridan 
along  with  him,  two  highly  accomplished  men  whom  I  had  to  nurse  me. 
And  on  every  one  of  these  may  God  have  mercy  on  them  all."  ^ 

Upon  the  illustration  which  may  be  seen  in  Bunting's  volume  of  1809, 
one  side  of  the  fore-pillar  is  represented,  and  it  appears  at  that  period 

1  "  Besides  the  Irish  inscriptions   there   is,   in  remain   '  Plecto  vinco   rego  .   .   .   monstra  viros   . 

large  Roman  letters,  near  the  figure  of  a  queen,  musica    Dei   donum.    distractas    solatur    musiea 

at  the  end  of  the  harmonic  curve —  mentes  .   ut  sonus  .   .   .  transit  sic  gloria  mundi  . 

lUE  &  EB  ME  FIERI  FECERUMT  EGO  SUM  Viocit  Veritas.'      Upon  the  inside  of  the  bow  in 

REGINA  CITHARARUM.  large  letters  is  inscribed,  '  Donatns  filius  Thadei 

"Upon  the  edge  of  the  bow  (fore-pillar)  were  me  fecit,  spes  mea  in  Deo.'"— O'Curry's  Lectures, 

Latin    inscriptions    (now    partially    lost):     theie  vol.  iii.  pp.  292-93. 


68  MUSICAL    INSTEUMENTS 

to  have  been  of  the  full  length.  Besides  the  upper  portion,  which 
has  since  mouldered  away,  other  portions  have  also  disappeared.  The 
foi-e-pillar  passed  through  the  hands  of  a  restorer,  and  the  missing 
portions  were  supplied  in  plaster  or  gilder's  putty.  It  would  have 
been  better  had  these  portions  been  left  plain,  however,  as  the  restorer 
has  not  altogether  successfully  covered  much  of  the  restored  portions 
with  decoration.  Upon  the  negatives  that  were  specially  taken  for  the 
purpose  of  illustrating  this  work,  the  writer  had  lines  drawn  separating 
the  original  from  the  restored  jjortions.  These  lines,  which  upon  the 
illustrations  appear  white,  are  intended  to  enable  the  reader  to  dis- 
tinguish between  the  genuine  and  spurious  ornamentation. 

This  Harp  has  forty -five  strings  in  one  row,  and  also  seven  additional 
strings  on  the  left  side,  which  are  supposed  to  have  been  tuned  in 
unison  with  the  corresponding  strings  which  occur  about  the  middle 
of  the  scale.  The  metal  bands  upon  either  side  of  the  harmonic  curve 
through  which  the  tuning-pegs  pass  form  single  curves  ;  most  of  the  pegs 
are  in  their  places  and  are  ornamented.  The  extreme  length  of  the 
harmonic  curve  is  35-|  inches.  The  depth  measured  between  the 
third  and  fourth  pegs  in  the  bass  is  6^  inches.  The  extreme  length 
of  the  fragment  of  the  fore-pillar  is  33  inches.  The  depth  above 
the  T  projection  is  4^  inches.  The  depth  below  the  T  projection  is 
4  inches.  The  length  of  the  T  projection  is  26f  inches ;  at  its  widest 
part  it  is  4j  inches  broad,  at  the  back  ]^  inches.  The  fore-pillar  in 
front  both  at  the  upper  and  lower  extremities  is  1{-J-  inches  broad. 
The  width  at  the  back  at  the  upper  extremity  is  lf]r  inches,  at  the 
lower  extremity  1  ^  inches.^ 

To  obtain  correct  photographs  of  this  Harp,  the  writer  had  the 
existing  portions  placed  side  by  side,  both  being  at  the  same  distance 
from  the  camera  as  they  would  had  the  Harp  been  in  a  perfect  state. 
The  photographs  were  then  arranged,  and  the  missing  portion  of  the 
fore-pillar  supplied. 

When  constructing  a  probable  box,  the  writer  discovered  that  the 
upper  portion  of  the  box,  to  fit  the  harmonic  curve,  required  to  be 
formed  obliquely  (see  Plate  i.),  also  that  if  the  sounding-board  of  the 

'  A  jiortion,  probably  the  harmonic  curve,  was  another  portion,  perhaps  the  fore-arm,  was  iu  the 
exhibited  at  Belfast  in  1S52  by  .Marriott  Dalway,  possession  of  Mrs.  Sherrard  of  Dublin. — Descrip- 
Esq.,  of  Bellahill,  Uarrickfergus.      At  this  period       tive  Catalogue,  ibid.  Appendix. 


THE   lEISH   HAEP  69 

original  box  was  not  curved  along  the  strings,  the  lower  termination 
of  the  fore-pillar  would  not  be  parallel  with  the  box.  It  is  true  that 
upon  the  illustration  given  by  Pretorius  (reproduced  p.  26)  the 
string-band  is  shown  without  a  curve,  and,  as  already  noticed,  Bacon 
describes  it  as  not  being  curved.  It  must  however  be  borne  in  mind 
that  both  these  writers  may  have  seen  instruments  constructed  many 
years  previous  to  the  periods  at  which  they  wrote  ;  also  that  Harps 
with  sounding-boards  curved,  both  along  and  across  the  strings,  were 
constructed  in  Ireland  somewhat  later  than  1621. 

In  the  case  of  the  Dalway  Harp,  supposing  the  string-band  of  the 
original  box  to  have  been  perfectly  straight,  and  the  fore-pillar  to 
have  joined  the  lower  portion  of  the  sounding-board  at  an  angle,  the 
two  portions  not  being  parallel  ^  would  tend  to  show  that  the  fore- 
pillar  had  been  shortened  by  the  tension  of  the  strings.  But  as 
the  fore-pillar  of  the  Dalway  Harp  is  unusually  strong,  and  shows 
no  longitudinal  cracks,^  the  probability  is  that  it  has  not  been  so 
shortened  ;  so  when  constructing  the  box,  the  writer  considered  it  advis- 
able to  make  the  sounding-board  curved  across  the  strings,  and  also  to 
make  the  box  parallel  with  the  termination  of  the  fore-pillar,  and  con- 
tinue the  junction  line,  and  so  give  a  slight  curve  along  the  strings  (see 
Plate  I.).  On  account  of  the  size  and  weight  of  the  harmonic  curve, 
the  writer  has  also  given  unusual  width  and  depth  to  the  upper  portion 
of  the  box,  and  unusual  width  to  the  lower  portion  of  the  box,  as  the 
harp  carved  upon  the  front  of  the  fore-pillar  is  so  represented.^ 

The  engraving  Bunting  gives  of  this  instrument  shows  a  sounding- 
board  and  sides.  These  additions  he,  very  properly,  represents  without 
ornament ;  but  the  sounding-board,  sides,  termination  of  the  box  and 

^  XJpoa  the  Lamout  Harp  the  projecting  block  the  lower  portion  of  the  sounding-board,  ISi  in. 
slopes  towards  the  termination.  The  artiticer  Length  of  sounding-board,  37|  in.  From  the 
in  this  case  may  have  anticipated  the  curvature  upper  portion  of  the  sounding-board  to  the  first 
along  the  strings,  which  he  must  have  known  string-hole,  3j  in.  ;  distance  between  the  string- 
would  eventually  occur.  holes,  |  in.     Extreme  length  of  the  box  without 

2  The  cracks  that  may  be  seen  upon  the  fore-  the  projecting  block,  39j  in.  ;  length  of  the  pro- 
pillars  of  the  Queen  Alary  and  the  Trinity  College  jecting  block,  4  in.  ;  width  of  the  projecting  block. 
Harps  would  account  for  increased  curvature.  3J  in.  ;  width  of  the  raised  string-band,   H  in.  • 

^  From  the   scale   of  the   model   the  following  depth  of  the  box  at  the  upper  extremity,  5I  in.; 

measurements  of  a  similar  box,  if  constructed  full  depth  of  the  box  at  the  lower  termination,  44-  in. ; 

size,  have  been  ascertained.      Width  of  the  upper  length   of  the   shortest   stiing,  3|  in.  ;  length  of 

portion  of  the   sounding-board,  5^  in.  ;  width  of  the  longest  string,  30J  in. 


70  MUSICAL    INSTEUMENTS 

projecting  block,  as  supplied  to  the  casts  of  the  existing  portions 
which  may  be  seen  in  our  museums,  are  decorated,  which  is  much  to 
be  regretted.  There  is  also  a  considerable  amount  of  spurious  orna- 
mentation upon  the  back  of  the  restored  portions  of  the  T  formation 
which  fortunately  does  not  appear  upon  those  portions  of  the  Harp. 
The  upper  portion  of  the  fore-pillar,  now  missing,  particularly  that  of 
the  right  side,  of  which  there  is  no  drawing  when  in  a  perfect  state, 
has  also  spurious  ornamentation.  In  fact,  the  restorer  (?)  has  neglected 
no  part  of  the  fore-pillar  except  those  portions  which  were  once  covered 
with  inscriptions  ;  the  missing  portions  of  such  inscriptions  he  was  unable 
to  supply. 

THE    KILDARE   HARP 

This  Harp,  remarkable  for  size,  form,  and  decoration,  was  apparently 
made  in  1672  for  Robert,  second  son  of  George,  the  sixteenth  Earl 
of  Kildare,  whose  initials  with  the  Fitzgerald  arms,  charged  with  a 
crescent  in  chief  surmounted  by  a  helmet  and  an  ape  for  crest,  appear 
upon  the  front  of  the  fore- pillar.     See  Plate  in.  (Fig.  i.). 

The  decoration  of  this  Harp  may  be  described  as  early  Jacobean. 
The  curved  foi'e-pillar  has  at  its  lower  termination  and  in  front  a 
grotesque  human  mask  or  face,  above  which  is  an  elaborately  incised 
carving  surrounded  by  a  circle  (Fig.  n.).  A  blank  space  surrounded  by 
a  series    of  semicircles  in  colour   then  occurs ;   these   semicircles  cross 

each  other  on  the  inner  side,  the  pointed 
portions  of  the  ornamentation,  shaded  upon 
the  illustration,  being  painted  deep  olive  green.  Between  this  panel  and 
the  armorial  bearings  and  date,  the  artist  has  I'eproduced  the  ornament 
of  the  incised  carving  in  colour.  These  coloured  ornamentations  are 
repeated  above  the  armorial  bearings,  as  is  also  the  incised  ornament 
surrounded  by  a  circle  already  noticed.  The  upper  portion  of  the 
fore-pillar  terminates  in  a  head  facing  upwards,  perhaps  that  of  a  wolf 
or  dog  in  very  high  relief  (Figs.  iii.  and  iv.).  The  T  projection  extends 
the  entire  length  of  the  fore-pillar,  and  is  at  the  centre  4f  inches  wide, 
that  poi'tion  of  the  pillar  nearest  the  sounding-board  being  1;^  inches 
wide.      The  edge  of  the  T  projection  is  ornamented  in  oblique  stripes 


THE      KILDARE      HARP. 


>s 


THE       KILOARE      HARP_LEFT      SIDE, 
Plate  11, 


THE    lEISH    HAEP 


71 


painted  in  black  and  white.  The  fore-pillar  is  not  mortised  into  the 
harmonic  curve  as  in  the  older  harps,  but  is  carried  up  and  forms 
the  bass  termination  of  the  harmonic  curve.  The  fore-pillar  has  been 
slightly  bent,  and  shortened  by  the  tension  of  the  strings. 

The  harmonic  curve,  which  is  beautifully  formed  and  richly  decorated, 
has  near  the  treble  end  and  upon  the  upper  side  a  grotesque  mask  or 
face  in  relief  (Fig.  v.),  and  terminates  in  a  scroll.  The  carvings  have 
been  enriched  by  colour,  of  which  red,  black,  white,  and  olive  green  are 
still  visible.  The  metal  bands  through  which  the  pegs  pass  have  a  very 
slight,  scarcely  perceptible,  double  curve.  These  bands  are  pierced 
for  36  pegs.  The  pegs  are  ornamented ;  there  are  also  two  additional  pegs 
in  the  bass.  Besides  these  there  were  certainly  two  other  holes  (one 
of  which  has  been  plugged)  which  have  been  intended  for  pegs. 

The  box,  which  is  supposed  to  be  of  yew,  is  cut  out  of  a  solid  block, 
and  varies  in  depth  from  4  inches  near  the  upper  extremity,  5^  inches 
in  the  middle,  to  3i  inches  at  the  lower  termination.  The 
sounding-board,  which  is  -^s  of  an  inch  in  thickness,  has 
about  the  centre  two  finely  ornamented  sound-holes  (No.  1), 
above  which  are  two  incised  decorations  enclosed  in  circles 
(No.  2) ;  and  below  the  sound-holes  are  other  two  incised 
ornaments  of  difterent  design  from  those  above  the  sound- 
holes,  but  enclosed  in  circles  (No.  3).  The  sounding-board, 
which  was  painted  or  picked  out  in  colours  of  which  red, 
white,  dark  brown,  or  black  are  still  visible,  terminates  upon 
either  side  of  the  usual  projecting  block  in  semicircular 
endings.  At  the  lower  termination,  the  sounding-board 
is  1  ft.  2  in.  broad.  The  raised  portion  or  string  band, 
which  in  this  example  begins  at  the  upper  extremity 
of  the  box,  terminates  in  two  steps  upon  either  side, 
and  is  then  carried  round  the  semicircular  endings  of  the  sounding- 
board.  Above  the  tenth  string,  this  raised  string  band  branches  to 
either  side  in  semicircles  of  somewhat  Moorish  character,  the  projection 
being  then  carried  along  the  angles  formed  by  the  sounding-board 
and  sides.  The  raised  string  band,  which  has  a  hollow  or  depression  in 
the  centre,  is  pierced  for  39  strings,  the  greater  number  of  "  the  shoes 
of  the  strings "  are  still  attached ;    these  are  of  brass  finely  wrought, 


72  MUSICAL   INSTEUMENTS 

and  are  of  horse-shoe  form,  the  extremities  representing  the  heads  of 
birds  being  turned  outwai'ds  and  upwards  (see  p.  29).  The  "  shoes  of 
the  strings "  are  somewhat  narrower  in  the  treble  than  the  bass. 
This  harp  is  strung  with  brass  wire  of  different  thicknesses.  These 
strings  may  not  be  very  old,  but  they  are  probably  of  the  correct  gauge, 
as  the  stringing  of  the  Harp  was  understood  in  1849.  The  shortest 
string  measures  2  inches,  the  longest  40  inches.  The  raised  bands 
at  the  sides  of  the  sounding-board  form  the  angles  of  the  box,  and 
upon  the  sides  of  the  box  nearest  to  the  sounding-board  there  are  also 
raised  bands  which  end  in  two  semicircles  surmounted  by  flattened 
arches. 

It  seems  probable  that  the  box  of  the  Harp  was  at  some  period 
considered  to  be  of  insufficient  length,  as  it  is  evident  the  fore-pillar  was 
removed  and  a  piece  of  metal  in  the  form  of  the  lower  portion  of  the 
string  band  and  steps,  and  considerably  longer  than  the  projecting  block, 
was  attached  to  the  lower  portion  of  the  box.  The  projecting  block  was 
then  increased  in  length  by  the  addition  of  a  block  of  wood,  which  added 
some  inches  to  the  height  of  the  Harp.  This  addition  to  the  projecting 
block,  like  the  wood  to  which  it  is  attached,  is  badly  worm-eaten.  Five 
metal  bands  have  been  attached  to  the  box  at  difi'erent  periods  for  the 
purpose  of  strengthening  it.  With  the  exception  of  that  above  the 
ornament  No.  2  they  are  more  or  less  rude. 

The  height  of  the  instrument  is  4  ft.  8^  in.  ;  the  extreme  length 
of  the  harmonic  curve  is  2  ft.  7  in.  ;  the  length  from  the  end  of  the 
projecting  block  to  the  rise  of  the  harmonic  curve  is  3  ft.  ll:g  in. 

This  really  splendid  Harp  was  obtained  by  the  late  Dr.  George  Petrie 
from  a  poor  woman  who  had  purchased  it  at  an  auction  in  Dublin.  Dr. 
Petrie  upon  discovering  for  whom  it  had  been  made  thought  that  it  should 
belong  to  the  head  of  the  family,  and  presented  it  to  the  fourth  Duke 
of  Leinster  in  1849,  since  which  time  it  has  been  preserved  at  Kilkea 
Castle  and  has  been  known  as  the  Kildare  Harp.^ 

'  Tbe  writer  is  indebted  to  Lnrd  Walter  Fitz-       this  work,  and  also  for  supplying  some  most  in- 
gerald  fur  allowing  a  seiies  of  photographs  to   be       tereating  notes  jegarding  it. 
taken  of  this  Harp  for  the  purpose  of  illustrating 


D  ETA  I L5     OF   TH  E 


KILDARE      HARP 


Plate  111. 


THE    lEISH    HARP  73 


THE   CASTLE   OTWAY   HARP 


Of  this  Harp  we  have  three  very  brief  notices.  The  first  of  these 
occurs  in  Bunting's  coll.  of  1809,^  either  by  the  editor  or  by  Mr.  Henry  Joy, 
and  is  as  follows  :  "  A  Harp  made  by  Cormack  O'Kelly,  of  Ballynascreen, 
in  the  County  of  Londonderry,  about  the  year  1700,"  has  the  figure  of 
wolf-dogs  engraved  upon  the  front  pillar.  The  second  is  undoubtedly 
by  Bunting,  who  writes :  "  Quin's  Harp  was  made  by  the  same  artist 
(Cormac  O'Kelly,  Ballynascreen,  Coy.  Derry).  The  editor  saw  it  at 
Egan's,  the  late  harp-maker's  in  Dublin.  It  was  a  handsome  instrument, 
made,  as  usual,  of  red  sallow  from  the  bog.  It  bears  date  1707."'"  The 
third  is  by  Dr.  Petrie,  who  states  that  he  saw  the  Harp,  that  it  "  bears 
the  date  1707,"  and  that  it  was,  when  he  wrote,  at  Castle  Otway.^ 

At  what  time  it  became  the  possession  of  the  Otway  family  cannot 
be  stated,  for  when  the  late  Admiral  Otway  succeeded  to  the  estate  in 
1850  the  harp  was  at  Castle  Otway,  and  it  was  not  known  when  or  from 
whom  it  had  been  acquired. 

This  Harp  is  an  extremely  interesting  and  profusely  decorated  instru- 
ment. The  box  is  cut  out  of  a  solid  block;  but  the  projecting  block 
which  has  been  fitted  into  a  cavity  in  the  stand  by  which  the  Harp  is 
now  supported  is  scarcely  visible.  The  fore-pillar  is  slightly  curved,  and 
has  not  been  shortened  by  the  tension  of  the  strings.  The  harmonic 
curve  has  the  prominent  peak  which  may  be  seen  upon  the  Irish  Harp 
illustrated  by  Pretorius,  and  reproduced  p.  26. 

The  box  of  this  instrument  is  graceful  in  form.  The  sounding- 
board,  which  terminates  upon  either  side  of  the  projecting  block  in 
straight  lines,  has  four  sound-holes.  These  have  hexafoil  ornaments 
enclosed  in  circles,  each  of  which  is  surrounded  by  two  concentric 
circles  enclosing  chevron  oi'namentation  (Fig.  viii.).  The  edges  of 
the  sounding-board  had  semicircular  decoration  similar  to  that  upon 
the  fore-pillar  of  the  Kildare  Harp  (see  p.  70),  but  little  of  this  orna- 
mentation remains.  The  raised  string  band,  which  terminates  in  the 
treble  in  semicircular  curves  and  in  the  bass  in  steps,  is  If  in.  broad, 

1  Note,  [).  24.  3  O'Curry's   Lectures,    vol.   iii.,   pp.   294,   295- 

2  Coll.  1840,  Qote,  p.  76.  297. 


74 


MUSICAL    INSTRUMENTS 


301  ii 

near  the  treble  it  is  -^ 


and  was  apparently  curved  along  the  strings,  the  rise  in  the  centre  being 
If  in.     There  were,  properly  speaking,  no  "shoes  of  the  strings";  but 
pieces  of  thin  brass,  formed  at  the  sides  into  elongated  curves  and  with 
Fig.  I.  holes  for  the  strings  in  the  centre  of  the  corresponding 

curves,  took  their  place.  These  pieces  of  brass  are 
fastened  by  nails  upon  either  side  of  the  string-holes,  and 
have  for  ornamentation  two  parallel  lines  of  projecting 
knobs;  and  as  the  metal  is  thin,  and  the  pieces  are 
not  of  considerable  length,  they  could  not  have  inter- 
fered with  the  vibration  of  the  instrument  (Fig.  i.) 
There  are  thirty-five  string-holes :  where  these  occur  in 
the  treble  the  strings  have  probably  cut  the  string 
band  and  a  piece  of  wood  with  new  holes  has  been 
inserted.  The  shortest  string  is  2^  in.,  the  longest 
The  sounding-board  is  of  unusual  thickness, 
in.,  and  near  the  bass  f  in. 
thick.  At  the  upper  extremity  the  sounding-board  is  3f  in.  in  width, 
and  at  the  lower  termination  it  is  12^  in.  wide.  At  the  upper  portion 
of  the  box  the  angles  are  rounded  off;  here  the  measurement  from 
the  sounding-board  to  the  back  of  the  box  is  5  in.,  and  Fio.  n. 
the  width  4|-  in.  The  sides  of  the  box  are  2  ft.  llf  in. 
in  length.  The  depth  at  the  upper  extremity,  owing  to 
the  rounding  oJfF  of  the  angles,  is  4  in.,  about  the  centre 
4f  in.,  and  at  the  lower  termination  S^  in. 

The  harmonic  curve  is  finely  formed.  At  the  bass 
termination  there  is  a  brass  enrichment,  the  face  of  which 
was  relieved  by  five  nails  with  ornamented  heads,  one  of 
which  remains.  The  sides  of  this  enrichment  are  orna- 
mented in  a  series  of  inverted  chevrons  between  four 
elongated  drooping  curves.  A  series  of  indents  above  the 
curves  are  carried  over  the  chevrons,  forming  a  waving 
line  with  pendants  to  the  points  of  the  chevrons.  Above 
each  curve  the  metal  is  pierced  by  a  round  hole  (Fig.  ii.). 
Between  this  enrichment  and  the  projecting  peak  the 
decoration  is  largely  in  the  form  of  chevrons  shown  by  rope  pattern. 
Within  each   chevron  the   decorator   has   represented  a  portion  of  an 


THE      CASTLE      OTWAY      HARP. 

Plate    I 


THE    lEISH    HARP 


75 


Fig.  in. 


Fio. IV. 


arcade  of  semicircular  arches  (Fig.  iii.).  This  chevron  pattern,  which 
terminates  at  either  end  in  foliaceous  designs,  does  not  extend  further 
than  the  pi'ojecting  peak,  behind  Avhich  upon  either  side  there  are  fine 
interlaced  patterns  (Fig.  iv.). 
Above  and  between  these  pat- 
terns a  thin  line  of  rope  mould- 
ing extends  towards  the  box, 
and  similarly  decorated  bands 
are  carried  downwards  upon 
either  side  behind  the  interlaced 
patterns,  thus  forming  a  cross  (Fig.  v.).  The  bands  for  the  tuning-pegs, 
which  are  brass,  form  single  curves  and  have  saw-tooth  edgings.  These 
bands,  of  which  small  portions  are  missing,^  were 
pierced  for  thirty-four  pegs,  nine  of  which  remain,  and 
are  ornamented  (Fig.  v.).  The  decoration  is  the  same 
upon  either  side.  The  harmonic  curve  is  of  the  ancient 
form,  that  is,  it  has  a  cavity  underneath  into  which  the 
fore-pillar  is  inserted.  This  cavity  is  considerably 
nearer  the  right  side  than  the  left  (Fig.  vi.).  The 
length  of  the  harmonic  curve  is  2  ft.  2|-  in.  The  depth 
after  it  leaves  the  box  is  3  in.,  where  the  peak  occurs  4f  in.,  about  the 
centre  4  in.,  and  at  the  bass  termination  4|-  in.  The  thickness  of  the 
lower  portion  is  2  in. 

Upon  either  side  of  the  fore-pillar  the  ornamentation  is  practically 
the  same.  At  the  lower  extremity  there  is  a  narrow  band  with  rope 
moulding,  which  is  carried  along  the  outer  edge  until  the  T  formation 
is  reached.  Within  the  angle  formed  by  this  and  another  rope  moulding 
along  the  termination  of  the  pillar,  there  is  a  foliaceous  pattern,  then  a 
representation  of  a  wolf-dog  within  a  circle  and  surrounded  by  two 
concentric  circles  with  chevron  ornamentation,  and  above  a  foliaceous 
pattern.  Chevron  ornamentation,  with  arcade  decoration  similar  to  that 
already  described,  occurs  until  the  upper  portion  of  the  T  formation  is 
reached,  where  there  is  a  foliaceous  pattern,  above  which  a  circle  with 
interlaced  pattern,   and  at  the  upper  extremity  a  parallelogram  with 


'  The   bands    were   not    sufficiently   strong   to 
•withstand  the  strain,  so  a  breakage  has  occurred, 


that  on  the  right  side,  where  it  was  pierced  for 
the  second  tuning-peg. 


76 


MUSICAL    INSTRUMENTS 


widely  spaced  interlaced  pattern.  At  either  side,  and  at  the  commence- 
ment and  termination  of  the  T  formation,  a  gradually  diminishing  rope 
carved  in  relief,  to  be  hereafter  referred  to,  is  carried  along  the  angle 
formed  by  the  flange  and  the  fore-pillar,  while  the  flange  itself  is  covered 
by  a  foliaceous  pattern  (Fig.  v.). 


Fio, 


The  front  of  the  fore-pillar  (Fig.  vi.)  is  very  finely  decorated. 
From  where  it  joins  the  projecting  block  an  elongated  and  open 
interlaced  pattern  is  carried  up  for  7^  in.,  when  it  joins  a  singular 
ornament  (Fig.  vii.).  It  is  difficult  to  determine  what  the  artist 
intended  to  represent.  The  strands  of  two  ropes  are  distinct.  These 
become  twisted,  and,  as  already  noticed,  are  carried  along  the  back  of 


THE      CASTLE      OTWAY      HARP. 


THE   lEISH    HAEP 


77 


Fig.  VII. 


the  T  formation  and  gradually  diminish.  This  portion  of  the  ornamenta- 
tion upon  the  front  is  in  low  relief,  while  the  ropes  already  referred 
to  are  in  high  relief.  These  and  similar  ornaments  are  the  only  portions 
of  the  decoration  which  are  not  incised.  Above 
this  ornament  and  at  the  commencement  of  the 
T  formation  there  is  a  foliaceous  pattern  spreading 
out  on  either  side,  above  which,  enclosed  in  a 
circle  with  chevron  ornamentation,  there  is  a  re- 
presentation of  a  wolf-dog  in  a  crouching  attitude 
with  his  head  turned  backwards  (Fig.  vii.).^  It 
will  be  found  that  three  other  representations  of 
this  animal  occur  with  very  slight  variation.  There 
can  be  no  question  as  to  the  position  in  which  the 
artist  intended  these  representations  of  wolf-dogs 
to  be  viewed.  That  represented  upon  the  right 
side  of  the  fore-pillar,  when  seen  as  it  would  be 
were  the  Harp  resting  upon  the  back  of  the  box, 
is   in   precisely   the    same   position    as    the   repre-  inches. 

sentations  upon  the  front  of  the  fore-pillar,  while 

that  on  the  left  side,  when  viewed  iu  the  same  manner,  appears  to 
be  sitting  more  upon  the  haunches  (Fig.  v.).  Above  the  wolf-dog 
there  is  a  double  representation  of  the  interlaced  pattern  before  referred 
to,  and  a  date-palm  in  fruit.  The  wolf-dog  is  again  represented,  also  the 
ornamentation  in  low  relief  showing  the  strands  of  the  ropes,  while  an  elon- 
gated and  open  interlaced  pattern  extends  to  the  harmonic  curve  (Fig.  vi.). 

The  length  of  the  fore-pillar  along  the  outer  curve  is  351^  in. 
The  width  at  the  lower  end  is  If  in.  Across  where  the  lower  wolf-dog 
occurs  is  3|-  in.  ;  across  the  upper  wolf-dog  2f  in.  The  width  at 
the  upper  extremity  is  1|-  in. ;  the  depth  both  of  the  upper  and  lower 
extremities  is  3f  in.,  and  at  the  centre  2|-  in.  The  width  at  the 
back  is  1^  in.     The  flange  at  the  back  of  the  T  formation  is  1|-  in.  deep. 

Upon  the  back  of  the  fore-pillar,  that  is  the  portion  nearest  to  the  box, 
the  figures  1410  are  incised,  immediately  following  which  the  name 
Cormac  O'Kelly  rudely  carved  can  be  indistinctly  traced,  after  which 
there  are  letters  or  figures  now  scarcely  visible.     It  is  strange  to  find 

'  The  illustration  is  from  a  rubbing  by  Miss  Otway-Ruthven,  and  from  a  photograph. 


78 


MUSICAL   INSTEUMENTS 


Fig.  VIII. 


Fig.  IX. 


a  maker's  name  carved  in  very  rude  characters  upon  an  instrument  so 
richly  and  delicately  decorated.  This  harp  is  of  a  purely  Celtic  form, 
and  has   no   resemblance    to    the    genuine    Cormac    O'Kelly   preserved 

at  Downhill,  except  in  having  the  sound-holes 
similarly  ornamented,  and  sound-holes  of  both 
the  harps  are  here  represented  for  comparison  ^ 
(Figs.  VIII.,  IX.). 

The  Castle  Otway  Harp  has  all  the  a23pear- 
ance  of  having  been  constructed  during  the 
first  half  of  the  seventeenth  century,  while  the 
Dow^nhill  instrument  is  dated  1702.  It  is  certain 
that  the  Castle  Otway  Harp  required  to  be 
repaired  at  some  period,  and  certain  repairs  were 
executed  upon  the  upper  portion  of  the  string 
band.  The  Harp  may  have  been  intrusted  to 
Cormac  O'Kelly  for  that  purpose,  and  he  may 
have  carved  his  name  and  copied  the  ornamental 
sound -holes  when  constructing  the  Downhill 
instrument.  The  date  "about  1700"  or  of 
"  1707,"  stated  by  Joy,  Bunting,  and  Petrie  to 
be  upon  it,  is  not  visible,  but  the  figures  1410  are 
distinctly  so  (Fig.  x.)."  In  1410  figures  would 
most  probably  have  been  carved  in  relief,  whereas  in  this  case  they  are 
incised.  Again,  Arabic  numerals  were  probably  not 
in  use  in  1410.  If  these  figures  are  examined  in  J  ; 
reverse  they  represent  0171,  and  this  is  probably  ^  | 
what  Joy,  Bunting,  and  Petrie  noticed.  t_*^.si^  .  .    _  ,  a 

There  are  ten  strings  of  copper  wire  upon  the  Harp.  These  are 
simply  to  keep  the  three  portions  of  the  instrument  together.  The 
box  and  fore-pillar  are  much  worm-eaten;  the  harmonic  curve,  which 
is  apparently  of  different  wood,  is  well  preserved.  The  patterns  upon 
the  Harp  are,  with  the  exceptions  noticed,  indicated  by  incised  lines,  and 
in  some  places  it  appears  that  colour-staining  has  been  resorted  to 
to  increase  the  effect, — red,  and  a  darker  colour  being  traceable.  For 
illustration  showing  the  back  of  the  Harp  see  p.  28. 


Fig.  X. 


'  Both  illustrations  are  from  rubbings. 


The  illustration  is  from  a  rubbing. 


yJ-fi/s  T?'otter  Fbnar.* 


Urocas  Sadp^ 


THE  IRISH  AND  THE  HIGHLAND  MK^xs.— Facsimile  of  an  Engraving  in  the  Joly  Collection.      (To  face  p.  78.) 


THE    lEISH    HAEP  79 

This  Harp,  which  is  still  preserved  at  Castle  Otway,  Templemore,^ 
was  no  doubt  made  for  a  person  of  consequence.  It  must  have  been  an 
old  instrument  when  it  came  into  the  possession  of  Patrick  Quin,  a  blind 
harper  of  note,  and,  as  it  has  been  associated  with  his  name,  the  reader 
may  care  to  know  what  has  been  recorded  concerning  him.  He  was 
born  in  1745,  and  resided  at  Portadown,  County  Armagh,  and  had  for 
his  instructor  Patrick  Linden  of  the  Fews,  County  Armagh,  a  distin- 
guished harper  and  poet.  He  attended  the  Belfast  meeting  in  1792, 
upon  which  occasion  he  played  besides  other  tunes  "Patrick's  Day,"  har- 
monised by  himself,  which  tune  had  not  been  previously  played  upon 
the  harp.  He  was  appointed  teacher  to  the  Dublin  Harp  Society,  and 
played  at  two  concerts  at  the  Rotunda  in  that  city  in  1809  in  commemora- 
tion of  Carolan,  where  his  performance  was  so  well  received  that  he  for 
the  future  declined  playing  upon  the  violin,  which  he  had  previously 
been  accustomed  to  do.^  An  engraved  portrait  of  Quin  was  exhibited 
at  the  Musical  Loan  Exhibition,  Feis  Cecil,  1899.^ 

THE   o'fFOGERTY   HARP 

This  instrument,  although  not  higlily  ornamented,  is  one  of  peculiar 
interest,  it  having  belonged  to  and  been  used  by  Cornelius  O'Ffogerty,* 
a  musician  of  note  and  chief  of  a  very  ancient  Celtic  family  ;  since  whose 
decease  it  has  remained  one  of  the  cherished  possessions  of  the  succeeding 
proprietors  of  Castle  Ffogerty,^  where  it  is  preserved. 

The  box,  which  is  formed  out  of  a  solid  block  of  black  sallow, 
in  form  resembles  that  of  the  Kildare  Harp,  but  the  lower  portion 
of  the  sounding-board  is  wider  in  proportion.  The  sounding-board 
has  six  small  sound-holes.      The  two  centre  and  the  two  lower  sound- 

'  The    writer    is    indebted    to    Mrs.     Otway-  vol.  i.  p.  181. 

Euthven,    of    Castle    Otway,   for    allowing    the  ^  Catalogue,   No.    103.      Had  a   copy   of  this 

Harp   to   be    photographed    for    the    purpose    of  engraving    been    in    the    British    Museum,    the 

illustrating  this  work,  and  also  to  Miss  Otway-  writer   would    have    endeavoured   to    have   had 

Ruthven  for  an  excellent  drawing  and  rubbings  it   reproduced.      The   .Joly  collection,    the   most 

of  portions  of  the  ornamentation.  important  in  Ireland,  is  not  available,  and  could 

-  Bunting,  coll.  1840,  pp.  64-82.      From  Hardi-  not  be  examined, 

man  we  learn  that   even   as  late   as  1831   "The  <  Cornelius  O'Ffogerty  of  Castle  Ffogerty  was 

strains  of  Patrick  Quin,  an  old  Irish  harper,  who       born    14th  May   1661,  and  died  during   1730. 

performed  publicly  in  Dublin  in  1809,  were  still  Burke's  Landed  Gentry, 

remembered    with    delight." — Irish    Minstrelsy,  '  Near  Thurles,  Tipperary. 


80 


MUSICAL   INSTRUMENTS 


holes  are  each  surrounded  by  ten  concentric  circles,  five  and  five. 
The  sounding-board  terminates  upon  either  side  of  the  projecting  block 
in  semicircles.  The  string  band,  which  is  slightly  raised,  curves  outwards 
towards  the  upper  extremity ;  these  semicircles  terminate  at  the  sides 


The  O'Ffogbrty  Harp. 


of  the  sounding-board  in  well-designed  floral  endings.  Above  the  semi- 
circles the  raised  string  band  widens  into  a  leaf- shaped  termination 
which,  with  the  floral  endings  to  the  semicircles,  somewhat  resembles, 
and  may  have  been  intended  to  represent,  a  fleur  de  lis.^     There  are 


'  If  the  reader  examines  the  plates  representing 
this  Harp  and  the  Kildare  Harp  he  will  see  that 
the  extreme  upper  portion  of  the  box  in  both 
cases  is  surrounded  by  a  metal  band  of  poor  work- 
manship. Upon  the  O'Ffogerty  Harjj  the  upper 
portion   of  the  leaf  is  cut  away  for   the  baud. 


It  is  possible  that  these  metal  bands  were  added 
long  after  the  Harps  had  left  the  maker's  hands. 
A  similar  band  of  the  commonest  workmanship 
may  also  be  seen  on  the  Lament  Harp  ;  in  this 
case  a  portion  of  the  ornamentation  is  apparently 
covered. 


THE      O'FFOGERTY      HARP 


THEIEISHHAEP  81 

tliirty-Hve  string-holes ;  almost  all  have  still  the  original  "  shoes  of  the 
strings  "  of  brass.  These  are  of  the  horse-shoe  form,  but  narrow,  the  ends 
are  turned  outwards  and  upwards,  and  terminate  in  the  heads  of  birds,  as 
do  those  on  the  Kildare  Harp.  The  shortest  string  is  2|-  in.,  the  longest 
is  3  ft.  0^  in.  in  length.  Between  the  centre  and  upper  sound-holes  the 
string  band  has  been  cut  through  so  as  to  admit  of  the  insertion  of  a 
small  band  of  iron  for  the  purpose  of  strengthening  the  sounding-board. 

The  fore-pillar,  which  is  much  curved,  has  withstood  the  tension 
of  the  strings  in  an  unusual  manner,  for  in  this  case  no  shortening  of 
the  pillar  can  be  detected.  The  T  projection  commences  whei'e  the 
pillar  is  morticed  into  the  harmonic  curve  and  is  continued  the  full 
length.  It  is  at  its  widest  part  4|-  inches  across,  that  portion  of  the 
pillar  nearest  to  the  sounding-board  being  1|-  inches  in  width.  At  the 
right  side  and  at  the  upper  end  of  the  pillar  four  holes  mark  the  place 
formerly  occupied  by  a  plate  of  gold,  on  which  was  engraved  in  Irish, 
"  This  is  the  harp  of  Cornelius  O'Ffogerty." 

The  harmonic  curve  of  this  instrument  is  of  the  ancient  form,  and 
has  the  peculiar  peak  which  may  be  seen  upon  the  Irish  Harp  illustrated 
by  Pretorius,  and  reproduced  p.  26,  and  upon  the  Castle  Otway  Harp  ; 
but  in  this  specimen  the  harmonic  curve  terminates  in  a  finely  carved 
scroll.  The  brass  bands  through  which  the  brass  pegs  pass  are  in  the 
form  of  single  curves,  and  are  pierced  for  thirty-six  pegs,  one  of  which  is 
missing. 

It  is  evident  the  harp  at  no  time  had  more  than  thirty-five  strings. 
This  instrument,  which  is  in  an  Excellent  state  of  preservation,  is  of  a 
light  colour,  and  has  not  been  decorated  or  varnished ;  it  was  strung 
and  played  upon  during  the  eighteenth  century.' 

The  height  of  the  instrument  is  3  ft.  8}  in.  The  extreme  length  of 
the  harmonic  curve  is  2  ft.  Of  in.  The  length  of  the  box  to  the  end 
of  the  projecting  block  is  3  ft.  1  in. 

1  The  writer  is  indebted  to  Lieut. -Colonel  John  purpose  of  illustrating  this  work.  An  iiulifferent 
Vivian  Ryau-Lanegan,  D.L.,  of  Castle  Ffogerty,  wood  engraving  of  this  instrument  may  be  seen 
for  allowing  this  Harp  to  be  photographed  for  the       in  the  Dublin  Teuny  Journal,  vol.  iii.  p.  256. 


82 


MUSICAL    INSTEUMENTS 


TWO    HAEPS,  THE  PROPERTY  OF  THE  ROYAL  IRISH  ACADEMY 


No.   1 


In  the   Dublin   Museum  are  two  Harps  of  a  large  size,  which  are 
supposed  to  date   from   1650  to   1680.       The  first    of  these,   formerly 

in  the  i^ossession  of  Major  Sirr,  was  No.  3 
in  the  Catalogue  of  his  Irish  Antiquities 
(1841),  in  which  Catalogue  the  following 
occurs: — "The  head  of  the  Irish  goshawk  is 
carved  on  the  top  of  the  pillar.  There  was 
a  brass  hand  attached  to  it,  which  is  lost  (the 
bloody  hand  of  the  O'Neills).  It  belonged  to 
a  bard  ?  (sic)  of  the  O'Neill  family."  '  This 
Harp  is  illustrated  in  the  Catalogue  of  the 
Royal  Irish  Academy  by  Sir  William  Wilde, 
and  in  the  Book  of  the  Club  of  the  True  High- 
landers. The  box  is  cut  out  of  a  solid  block  ; 
the  sounding-board,  which  is  half  an  inch  thick, 
has  four  sound-holes,  and  terminates  in  straight 
lines  at  either  side  of  the  projecting  block ; 
it  is  3f  inches  wide  at  the  upper  extremity, 
13|-  inches  wide  at  the  lower  termination, 
and  39  inches  in  length.  The  sides  of  the 
box  are  at  the  upper  extremity  4  inches 
deep,  about  the  middle  4^-  inches,  and  at  the 
lower  termination  3:|:  inches.  The  instrument 
measures  from  the  end  of  the  projecting  block  to 
the  highest  portion  of  the  fore-pillar,  5  ft.  2  in. 
The  harmonic  curve  has  a  projection  which  to  some  extent  approaches 
in  form  the  peak  already  described  as  occurring  upon  the  harmonic 
curve  of  the  Castle  Otway  Harp,  and  also  upon  that  of  the  O'Ffogerty 
Harp,  but  here  the  projection  terminates  in  a  head  which  Wilde 
describes  as  that  of  a  rabbit.     There  are  broad  metal  plates  upon  either 

1  Notes  ami  Queries,  9th  Series,  vii.  p.  338. 


THE    IRISH    HARP  83 

side  of  tlie  harmonic  curve,  through  which  thirty-six  tuning-pegs  pass. 
These  plates  are  probably  not  original,  as  upon  the  left,  or  string  side,  we 
find  thirty-six  nuts  or  straining-pegs  attached,  the  last  three  of  which 
have  a  very  slight  downward  curve  ;  some  of  these  are  much  decayed,  and 
none  appear  to  have  had  notches  for  the  strings.  Ujion  the  sounding-board 
there  is  a  metal  band  with  thirty-eight  holes,  through  which  the  strings 
pass.  This  is,  unquestionably,  modern  ;  the  two  highest  holes  in  the  treble 
could  not  be  used,  as  they  are  over  the  solid  wood.  The  fore-pillar,  which 
is  slightly  curved,  and  forms  a  portion  of  the  harmonic  curve,  is  carried 
to  the  full  height  of  the  instrument.  The  upper  extremity  is  bent 
backwards,  and  carved  into  the  form  of  the  head  of  a  bird,  described  by 
Wilde  as  that  of  an  eagle.  The  T  formation  extends  the  greater  portion 
of  the  length  of  the  fore-pillar.  This  Harp  is  strung  with  thirty-six 
strings.  The  strings  are  modern,  and  of  copper  wire.  The  shortest 
string  is  2|-  inches,  the  longest  43f  inches. 

No.   2 

The  second  Harp  in  this  Museum  has  a  box  cut  out  of  a  solid 
block.  There  are  no  sound-holes  in  the  sounding-board,  but  there  are 
large  cavities  at  the  back  of  the  box.  The  sounding-board  terminates 
in  straight  lines  upon  either  side  of  the  projecting  block,  and  the  holes 
in  the  sounding-board  for  the  strings  to  pass  through  are  protected 
by  "shoes  of  the  strings"  differing  in  form.  The  most  numerous  are 
triangular,  with  circular  endings  to  the  lower  angles,  somewhat  similar 
to  those  upon  the  Downhill  Harp  (p.  29),  and  those  above  and  below  the 
triangular  plates  vary :  some  are  hanging  bands,  bending  outwards  and 
terminating  in  rose-shaped  ornaments  of  six  leaves ;  others  are  bands 
of  horse-shoe  form,  with  flat  circular  endings  ornamented  by  seven  small 
indents  (see  p.  29).  There  is  no  raised  string-band.  The  length  of  the 
sounding-board  is  42^  inches,  the  width  at  the  upper  extremity  5f  inches, 
and  at  the  lower  termination  13  inches.  The  sides  of  the  box  are  at 
the  upper  extremity  5|-  inches  deep,  in  the  middle  5^  inches,  and  at 
the  lower  termination  3^  inches  deep.  The  height  from  the  end  of 
the  projecting  block  to  the  highest  portion  of  the  fore-pillar  is  4  feet 
5f  inches. 


84 


MUSICAL   INSTEUMENTS 


The  harmonic  curve  has  been  badly 
fractured  near  the  treble,  and  canvas 
has  been  attached  to  it  for  preservation, 
but  it  appears  as  if  the  centre  of  the 
upper  extremity  of  the  box  had  been 
removed  from  front  to  back  for  some 
considerable  depth,  into  which  the  treble 
termination  of  the  harmonic  curve  is 
sunk/ 

The  fore-pillar,  vphich  is  slightly  bent, 
is  carried  to  the  full  height  of  the  instru- 
ment, and  forms  the  termination  of  the 
harmonic  curve.  The  T  formation  com- 
mences at  the  junction  of  the  fore-pillar 
with  the  harmonic  curve,  and  extends  to 
the  lower  termination.  This  Harp  has 
thirty  -  seven  strings.  The  strings  are 
modern  and  of  copper  wire.  The  shortest 
string  is  2  inches,  the  longest  41  inches. 
The  Harp  is  4  ft.  6  in.  in  height.  This 
Harp  is  without  ornament,  excepting  two 
circular  carvings  with  a  centre  which  occur 
at  the  upper  end  of  the  fore-pillar. 


BELFAST  MUSEUM  HAEP 


In  the  Belfast  Museum  may  be  seen  a  Harp  of  considerable  interest. 
The  markings  upon  different  parts  of  this  instrument,  for  the  sake  of 
convenience,  are  noticed  in  the  following  order : — Upon  the  bottom  of 
the  projecting  portion  of  the  box  is  the  date  1654,  the  incised  figures 
of  which  are  certainly  old,  but  it  is  impossible  to  say  decidedly  that 
they  are  of  the  period  indicated.  At  the  back  of  the  spring  of  the 
harmonic  curve  where  it  issues  from  the  box,  there  is  an  incised  carving 
of  a  right   hand — the   badge   of  O'lSTeill — above  which   there   is   what 

1  An  attempt  to  represent  this  unusual  form       the  painting  of  Carolan  plajing  upon   liis  harp, 
may  have  been  made    by  the  artist   who   copied       which  was  afterwards  engraved. 


THE   IE  IS  II    HARP 


appears  to  be  a  rude  representation  of  a  ship,  upon  the  hull  of  which  is 
a  cross,  and  lieneath  a  heraldic  wreath,  all  incised,  xlbove  the  ship  are 
unintelligible  incised  marks.  At  the  fore- 
most end  of  the  upper  portion  of  the  har- 
monic curve  a  fish,  probably  a  salmon,  is 
incised,  and  upon  the  upper  portion  of  the 
front  of  the  fore-pillar  there  is  a  small 
cross.  Upon  the  upper  portion  of  the  back 
of  the  box  E  L  appears  rudely  incised. 

This  Harp  has  been  decorated  more 
than  once  :  the  original  colour  appears  to 
have  been  blue,  much  of  which  may  be 
seen.  Upon  the  right-hand  side  of  the 
box  a  head  is  painted  in  oil-colour.  The 
hair,  which  is  unpowdered,  is  dressed  in 
the  fashion  of  the  seventeenth  century  ; 
the  countenance  somewhat  resembles  the 
jjortraits  of  Charles  ii.  This  portrait,  for 
it  certainly  was  intended  for  one,  pro- 
bably formed  part  of  the  original  orna- 
mentation. 

Upon  the  left  of  the  fore-pillar  is 
painted  "Edu.  Lindse  of  Lennox,  mdccc4." 
This  person's  initials  have  already  been 
noticed  as  appearing  on  the  back  of  the 
box.  This  is  the  probable  date  of  the  last  decoration  of  the  Harp. 
The  colour  was  now  changed  to  red,  Avhile  gold  shamrocks,  well  drawn, 
were  distributed  both  on  the  sounding-board  and  on  the  sides  of  the 
upper  portion  of  the  fore-pillar.  Upon  the  side  of  the  box  are  two  large 
oval  spaces,  one  apparently  intended  to  receive  a  metal  plate. 

This  Harp  has  more  than  its  antiquity  and  decoration  to  recommend 
it.  It  is  for  its  size  unusually  light,  and  is  of  graceful  form.  The  fore- 
pillar,  which  is  slightly  curved,  is  thin,  and  as  it  has  not  the  pronounced 
T  formation  it  has  been  drawn  considerably  to  the  left  side  by  the 
tension  of  the  strings.  The  box  has  been  cut  out  of  a  solid  block, 
and  the  interior  is  formed  like  an  arch.      Examining  the  exterior,  the 


86  MUSICAL    INSTRUMENTS 

sounding-board  will  be  found  to  be  much  more  arched  than  ia  usual, 
and  this  arching  has  not  altogether  been  caused  by  the  tension  of 
the  strings ;  the  sounding-board  could  never  have  been  flat.  The  back 
of  the  box  is  not  a  straight  line,  but  slightly  curves  inwards,  the  depth 
of  the  curve  being  one  half  of  an  inch.  This  curvature  is  similar  to  that 
which  has  been  noticed  upon  the  Harp  represented  upon  the  shrine  of 
.  St.  Moedoc  (p.  24),  and  does  not  appear  to  have  been  caused  by  the 
tension  of  the  strings.  The  lower  portion  of  the  box  upon  either  side  of 
the  projecting  block  has  semicircular  terminations.  There  are  no  sound- 
holes  except  at  the  back.  A  band  of  iron,  evidently  modern,  pierced 
with  thirty-nine  holes  (one  of  which  is  over  the  solid  wood),  covers  the 
string-holes.  It  is  impossible  that  thirty-eight  holes  could  have  been 
used,  as  there  are  only  thirty-six  pegs.  The  pegs  are  of  brass  and  are  in 
their  places.  The  harmonic  curve  joins  the  fore-pillar  in  the  more 
modern  fashion.  The  bands  through  which  the  tuning-pegs  pass  form 
single  curves,  and  cross  the  upper  portion  of  the  fore-pillar  which  forms 
the  bass  termination  of  the  harmonic  curve.  The  width  of  the  sounding- 
board  at  the  upper  extremity  is  4  inches,  at  the  lower  termination 
9|-  inches.  The  depth  of  the  side  of  the  box  at  the  upper  extremity  is 
2|-  inches,  about  the  centre  3f  inches,  and  at  the  lower  termination  about 
3^  inches.^  The  extreme  height  of  the  Harp  when  being  played  upon 
is  4  ft.  7|-  in.  The  length  of  the  shortest  string  is  1-|  inches,  the  longest 
46|-  inches. 

The  constructor  of  this  Harp  was  content  to  finish  off  the  junction  of 
the  harmonic  curve  with  the  box  in  a  series  of  raised  semicircles,  and 
to  fashion  the  angles  of  the  sounding-board  and  sides,  and  the  angles 
of  the  front  of  the  fore-pillar  in  semicircular  mouldings,  and  left  the 
ornamentation  entirely  to  the  decorator.^ 

When  the  British  Association  met  at  Belfast  in  1852  a  large  and 
important  collection  of  antiquities  was  exhibited.  To  this  collection, 
Mr.  E.  Lindsay  of  Belfast  contributed  three  harps.  One  of  these  was 
probably  the  Harp  under  notice,  and  in  the  Descriptive  Catalogue,  p.  44, 
it  is  thus  desci-ibed  :  "  The  Harp  of  O'Neill,  one  of  the  last  of  the  old  race 

'  It  may  be  remarked  that  tbis  is  an  exception  termination, 

to  tbe  usual  form,  all  the  other  specimens  being  ^  The  writer  has   to  thank    Mr.  A.   M'Googan 

of   the   same  depth   at   the   sides   throughout,    or  for  allowing  him  to  use   the   photograph   of  this 

deeper  at  the  upper  extremity  than  at   the  lower  H.arp. 


THE    IRISH    HAi;P  87 

of  Irish  Harpers,  well  known  in  Ulster  about  the  end  of  the  last  century 
(see  Bunting's  works)."  Again  in  the  Appendix,  p.  11,  the  following 
statement  occurs  :  "  Of  the  three  Harps  exhibited  by  Mr.  Lindsay,  two  of 
them  are  believed  to  have  belonged  to  O'Neill  and  Hempson,  men  very 
remarkable  in  their  day,  and  amongst  the  last  of  the  genuine  Irish 
Harpers."  Mr.  E.  Lindsay  may  have  been  the  Edu.  Lindse  of  Lennox, 
whose  name  with  the  date  1804  is  painted  upon  the  Harp,  or  he  may 
have  been  his  son. 

It  is  not  known  by  whom  or  at  what  date  the  Harp  was  presented  to 
the  Belfast  Museum,  but  for  many  years  it  was  shown  in  that  museum 
as  the  Harp  of  Carolan.  It  was  so  known  while  Mr.  Darragh  had  charge 
of  the  museum,  and  is  so  described  in  "  Notes  of  some  of  the  Interesting 
Objects,"  and  was  so  pointed  out  to  the  writer  in  1898.  At  the  Musical 
Loan  Collection  in  Dublin  in  1899,  it  was  exhibited  as  the  Harp  of 
O'Neill,  the  notice  in  the  Catalogue  being  copied  from  that  of  1852.  In 
the  Ulster  Journal  of  Archaeology  for  January  1901  a  statement  occurs 
that  it  was  the  Harp  of  Arthur  O'Neill,  and  had,  subsequent  to  the  death 
of  that  noted  harper,  been  in  the  possession  of  Mr.  Edward  Lindsay  of 
Belfast,  who  once  gave  a  performance  upon  it  at  a  meeting  of  the 
Anacreontic  Society.^ 

There  can  be  no  reasonable  doubt  that  this  Harp  at  one  time  was  in 
the  possession  of  some  person  of  the  name  of  O'Neill,  but  there  is  no 
proof  that  that  person  was  Arthur  O'Neill,  who  in  the  two  engraved 
portraits  (probably  from  the  same  drawing)  is  represented  as  playing 
upon  a  totally  different  instrument.  It  is  scarcely  likely  that  the 
paragraph  in  the  Appendix  to  the  Descriptive  Catalogue  of  1852,  viz.^ 
that  it  was  believed  to  have  belonged  to  O'Neill,  would  have  been  printed 
if  it  had  then  been  known  to  have  been  his  Harp.  And  the  statement 
that  it  was  acquired  by  Mr.  Edward  Lindsay  after  O'Neill's  death  is  not 
likely  to  be  correct,  as  his  death  occurred  in  1816  and  the  Harp  appears 
to  have  been  in  the  possession  of  a  Mr.  Edu.  Lindse  in  1804.  It  may  be 
remarked  that  the  earliest  assertion  regarding  the  former  ownership  of 

1  It  appears  from  this  that  the  person  to  whom  a  favourite  Harp  of  Arthur  O'Neill  was  destroyed 

this  Harp  belonged  before  it  became  the  jnoijerty  when  the  house    of  the  O'Neills  of  Oleiiarb  was 

of  the  Lindsay  family  did  not  part  with    it   on  burned,  does  not  strengthen  Mr.  Lindsay's  asser- 

aceount  of  its  being  worthless  as  a  musical  instru-  tiou. 
meat.     And  the  fact  that  there  is  a  tradition  that 


88  MUSICAL    INSTRUMENTS 

this  Harp  was  made  after  Bunting's  coll.  of  1840  was  published,  and  that 
the  collection  was  pointedly  referred  to.  Dui'ing  the  last  fifteen  years  of 
Bunting's  residence  at  Belfast,  this  Harp  was  presumably  in  the  possession 
of  the  Lindsay  family;  and,  had  it  previously  belonged  to  i/ie  Arthur  O'Neill 
Bunting  in  his  coll.  of  1840  so  frequently  refers  to,  he  w^ould  most 
likely  have  heard  of  it ;  but  although  he  has  much  of  interest  to  relate 
regarding  Arthur  O'Neill,  he  does  not  notice  the  Harp.  The  fact  that 
Mr.  Lindsay  exhibited  a  Harp  (presumably  the  drawing-room  instrument 
of  the  Sheraton  period,  also  in  the  Belfast  Museum)  as  "  stated  to  be  that 
of  Hempson,"  whose  Harp  has  been  at  Downhill  since  his  death,  does  not 
make  his  unsupported  assertion  regarding  the  former  ownership  of  this 
Harp  acceptable.  It  is  the  writer's  opinion  that  unless  direct  proof  is 
forthcoming,  Mr.  Lindsay's  statement  should  be  received  with  grave 
suspicion,  or  altogether  discredited. 

THE  DOWNHILL  HARP 

This  instrument,  which  was  made  by  Cormac  O'Kelly,^  has  upon  the 
right  side  of  the  box,  in  incised  letters,  the  following  inscription  (which 
refers  to  the  bog  wood  out  of  which  it  was  constructed) : — 

"  [In  the]  time  of  Noah  I  was  green ; 
[Since]  his  flood  1  have  not  been  seen, 
Until  17  hundred  and  02  I  was  found 
By  C.  E.  Kely  underground ; 
[He  raised  me]  up  to  tliat  degree, 
Queen  of  Musick  [yo]u  may  ca[ll  me]." 

The  box  is  cut  out  of  a  solid  block,  the  sound-holes  are  ornamented  by 
hexafoils  enclosed  in  circles  (see  p.  78).  The  lower  termination  of  the  box 
is  peculiar;  the  sounding-board  leaves  the  upper  portions  of  the  projecting 
block  at  right  angles,  then  in  semicircular  sweeps  joins  the  outer  ends 
of  the  box.  The  sounding-board  is  considerably  longer  at  the  sides 
than  at  the  centre.  The  thickness  of  the  sounding-board  is  slightly 
less  than  \  inch.  The  width  at  the  upper  end  is  4  inches,  and  at  the 
lower  extremity  \^\  inches,  the  projecting  block  being  2|-  inches  wide. 

'  "  Of  Ballynasereen,  in  the  county  of  Derry,  a       Iribli  melodies  in  their  original  purity." — Eunting, 
district  long  famous  for  the  coiistruution  of  such       cull.  1840,  JJ.  77. 
insiruments,  auj  for  the  preservation  of  aucient 


THE    IRISH    HAEP 


89 


The  string-band  is  raised,  and  pierced  with  thirty  holes.  Most  of  the 
metal  "  shoes  of  the  strings  "  are  in  their  places.  They  are  of  a  triangular 
form,  with  circular  holes  in  the  centre,  and  have  semicircular  termina- 
■  tions  to  the  two  lower  ends  pierced  for 
nails  (see  p.  29).  The  raised  string- 
band  has  at  the  upper  end,  and  on 
either  side,  inverted  curves,  while,  at 
the  lower  extremity,  it  is  continued  on 
the  outside  of  the  lower  portion  of 
the  fore-pillar,  and  then  forms  a  raised 
border  to  the  termination  of  the  sound- 
ing-board, and  along  the  angle  formed 
by  the  sounding-board  and  sides  of  the 
box. 

The  depth  of  the  box  at  the  upper 
extremity  is  4|  inches,  and  at  the  lower 
termination  3  inches. 

The  fore-pillar  is  curved,  but  the 
curvature  occurs  at  one  place  only. 
There  is  some  ornament  in  relief  where 
it  joins  the  projecting  block  ;  from  this 
junction  the  T  projection  is  carried  up  for 
the  greater  length.  The  angles  towards 
the  sounding-board  have  rope  mouldings. 
The  fore-pillar,  which  has  been  scarcely, 
if  at  all,  shortened  by  the  tension  of  the 
strings,  is  carried  up  and  forms  the  bass  portion  of  the  harmonic  curve, 
and  terminates  in  front  in  a  head  with  open  jaws  which  is  directed 
downwards.  The  harmonic  curve  has  upon  the  upper  portion  circles  and 
other  ornamentation  in  relief.  The  metal  bands  through  which  the  tuning- 
pegs  pass  form  smgle  curves,  and  are  pierced  with  thirty-two  holes. ^ 
Most  of  the  tuning-pegs  are  preserved.     At  the  treble  end  the  bands 


1  The  writer  is  indebted  toW.  J.  Browne,  Esq., 
Londonderry,  who  went  purposely  to  Dowahill 
to  examine  the  Harp,  for  this  version  of  the 
inscription,  which  differs  somewhat  from  that 
printed  by  Bunting,  coll.  1840,  p.  76,  and  for  an 


excellent  photograph  of  the  instrument,  from 
which  the  illustration  has  been  taken,  and  also 
to  Wm.  Jackson,  Esq.,  for  measurements  and 
rubbings. 


M 


90  MUSICAL   INSTRUMENTS 

have  floral  terminations,  each  with  five  leaves.  On  account  of  the 
strain  and  a  bad  fracture  the  bands  have  been  broken  near  the  treble. 

The  measurement  from  the  end  of  the  projecting  block  to  the  highest 
portion  of  the  harmonic  curve  is  48  inches,  the  shortest  string  is  2f  inches, 
and  the  longest  string  38  inches.  This  Harp,  although  not  actually  made 
for  Denis  Hempson,  was  presumably  for  the  greater  portion  of  his  excep- 
tionally long  life  used  by  him,  and  was  most  probably  played  upon 
before  Prince  Charles  Edward  at  Holyrood  in  1745.  As  Hempson  was 
the  last  representative  of  the  ancient  school  of  harpers,  and  as  his  name 
has  been  so  associated  with  this  Harp,  the  following  short  notice  of  him 
is  here  given  : — 

Denis  a  Hampsy  or  Hempson  was  born  at  Craigmore  near  Garvagh, 
Londonderry,  in  1695.  When  three  years  of  age  he  lost  his  sight,  and  at 
twelve  commenced  to  learn  the  harp  from  Bridget  O'Cahan.  He  after- 
wards studied  under  John  C.  Garragher,  Loughlin  Fanning,  and 
Patrick  Connor,  all  of  whom  belonged  to  the  provmce  of  Connaught, 
which,  as  he  himself  said,  was  "  the  best  part  of  the  kingdom  for  Irish 
harpers  and  for  music."  When  eighteen,  that  is  during  the  year  1713, 
three  gentlemen  who  were  interested  in  him  presented  him  with  a  harp, 
probably  the  one  already  noticed.  He  travelled  through  Ireland,  and 
also  on  two  occasions  through  Scotland.  During  his  last  visit  to  that 
country  in  1745  he  played  at  Holyrood.  As  already  stated,  he  was  the 
only  harper  at  the  Belfast  meeting  in  1792  who  pulled  the  strings 
with  crooked  nails.'  The  Rev.  George  Sampson,  in  a  letter  written 
3rd  July  1805,  when  Hempson  was  110,  states  that  even  at  that 
age  he  played  for  him  with  astonishing  justness  and  taste  the  three 
tunes  he  had  played  during  the  first  day  of  the  Belfast  meeting.  He 
cared  little  for  the  music  of  Carolan,  but  principally  played  the  really 
ancient  music,  and  some  of  it  most  reluctantly.  Bunting  states  that  "it 
was  with  the  greatest  diSiculty  he  was  able  to  procure  the  old  harp 
music  from  Hempson.  When  asked  to  play  the  very  antique  tunes  he 
uniformly  replied,  '  there  was  no  use  in  doing  so,  they  were  too  hard  to 
learn,  they  revived  painful  recollections.'  In  short,  he  regarded  the  old 
music  with  superstitious  veneration,  and  thought  it  in  some  sort  a 
profanation    to  divulge   it  to  modern  ears."     It  was  with  the  utmost 

'  His  method  of  playing  as  described  by  Bunting  has  been  previously  noticed. 


Zn^rav^  iram  an  Oria^ial  Praww^  h}'  £.  Scriren . 


II  E  M  P  s  o  :^ 


TME  MJIRFISM.  or  M^GI¥.LIGAW,  COVWTY 0r  L'BEMMIT. 


THE    lEISH    HAEP  91 

reluctance  that  he  was  prevailed  on  to  play  even  the  first  portion  of 
"  Feaghan  Gleash,"  an  ancient  prelude  (p.  121 ).  He  would  rather,  he  said, 
have  played  any  other  air,  as  this  recalled  the  times  long  past  when  the 
harpers  were  accustomed  to  play  the  ancient  caoinans  or  lamentations 
with  their  corresponding  preludes.  The  remaining  portion  of  the  prelude 
he  solemnly  declared  he  had  forgotten.  He  lived  at  Magilligan  in  a 
cottage  which  the  Earl  of  Bristol  had  built  for  him,  and  where  during  the 
last  years  of  his  life  he  was  cared  for  and  visited  by  the  Rev.  Sir  H. 
Hervey  Bruce,  Bart.,  who  on  Hempson's  death  in  1807^  at  the  age 
of  112,  had  his  harp  removed  to  Downhill.^  It  fortunately  escaped 
the  destructive  fire  which  consumed  so  much  of  that  residence,  and 
is  now  the  property  of  the  Right  Hon.  Sir  Henry  Hervey  Bruce,  Bart., 
of  Downhill,  Londonderry. 

THE  BUNWORTH  HARP 

This  Harp  was  made  by  John  Kelly  ^  in  1734  for  the  Rev.  Charles 
Bunworth,  Baltdaniel,  rector  of  Buttevant,  County  Cork.^ 

In  1826  it  was  in  the  possession  of  Mr.  Bunworth's  granddaughter. 
Miss  Dillon  of  Blackrock,  near  Cork,*  and  afterwards  became  the  property 
of  Mr.  Bunworth's  great-grandson,  Thomas  Crofton  Croker,  author  of  the 
Fairy  Legends  of  the  South  of  Ireland,  whose  mother  was  a  daughter  of 
Croker  Dillon  of  Baltdaniel,  County  Cork,^  at  which  period  a  drawing  was 
made  which  was  engraved  for  Mr.  and  Mrs.  S.  C.  Hall's  Ireland,  vol.  ii. 

'  November    5,    1807. — Ryan's    Worthies    of  pillar,  has  been  omitted,  probably  on  account  of 

Ireland,  vol.  ii.  p.  305.  the  size  of  the  canvas. 

-  Bunting,  coll.    1840,  pp.    73,   74,  7o,  76,  83.  ^  The  district  in  which  John  Kelly  resided  has 

When  Sir  Henry  visited  him  for  the  last  time,  not  been  noticed,  but  he  probably  belonged  to  the 

"he  desired  to  be  raised  up  in  bed  and  the  harp  south  of  Ireland,  as  the  two  harps  made  by  him 

placed  in  his  hands.     Ha^'ing  struck  some  notes  of  which  we  have  illustrations  and  notices  were 

of  a   favourite  strain,   he   sank  back   unable    to  in  the  possession  of  persons  who  resided  in  that 

proceed,  taking  his  last  adieu  of  an   instrument  portion  of  the  Island. 

which  had  been  a  companion,  even  in  his  sleeping  *  Croker's  Fairy  Legends,  Edn.   1826,  p.   197. 

hours,  and  was  his  hourly  solace  through  a  life  At  the  contention  or  meetings  of  the  bards  (poets) 

protracted  to  the  longest  strain."     On  the  follow-  of  Ireland  between  the  years  1730  and  1750,  which 

ing   day  this  last   of   the   old   school  of   harjiers  were  generally  held  at  Bruree,  County  Limerick, 

passed  away. — Ibid.  p.  76.     An  engraving  from  a  this  gentleman  was  five  times  chosen  umpire  or 

portrait  taken  when   over   100  jears   of  age    by  president. — Croker's  Sale  Catalogue.     See  Hardi- 

E.  Scriven  for  General  Hart,  which  appeared  in  man's  Irish  Minstrelsy,  vol.  i.  note,  p.  xxvii. 

Bunting's  coll.  1809,  has  been  reproduced.     The  "  Croker's  Fairy  Legends,  p.  204. 

head,   which  forms  the  termination  of  the  fore-  ''  Dictionary  of  National  Biography. 


92  MUSICAL   INSTEUMENTS 

p.  410/  After  the  death  of  Mr.  Croker  the  Harp  was  sold  by  Messrs. 
Puttick  and  Simpson  on  22nd  December  1854,  and  was  purchased  by- 
Thomas  Bateman  of  Lomberdale  House,  Derbyshire,  and  placed  in  his 
museum.  At  the  disposal  of  Mr.  Bateman's  Collection  by  Messrs. 
Sotheby,  Wilkinson,  and  Hodge  in  June  1893  it  was  No.  292  in  the 
catalogue,  and  eventually  became  the  property  of  Rev.  F.  W.  Galpin,^ 
and  now  forms  part  of  his  most  interesting  and  valuable  collection  of 
musical  instruments  at  Hatfield,  Essex. 

From  Mr.  T.  Crofton  Croker  we  learn  that  Mr.  Bunworth  was 
known  far  beyond  the  limits  of  the  parishes  adjacent  to  his  own,  not 
only  for  his  performance  upon  the  Irish  Harp,  but  also  for  his  hospitable 
reception  and  entertainment  of  the  harpers  who  travelled  from  house 
to  house  about  the  country,  who  sang  his  praises  to  the  accompaniment 
of  their  harps.  ^ 

From  another  writer  we  learn  that  "he  was  greatly  distinguished  for 
his  patronage  and  knowledge  of  Irish  music,  and  that  he  was  a  remarkably 
good  performer  on  the  Irish  Harp."  * 

Both  these  writers  mention  the  Harp. 

Although  this  Harp  is  of  a  comparatively  late  make,  it  is  of  interest 
and  value,  and  in  some  respects  differs  from  the  other  specimens  noticed. 
It  is  besides  the  only  known  example  by  John  Kelly  that  has  been 
preserved.  That  maker  perhaps  lived  in  a  district  where  suitable  blocks 
of  wood  were  not  easily  obtainable  ;  so,  the  one  selected  to  be  hollowed 
out  for  the  box  being  somewhat  irregular  in  form,  Kelly  appears  to  have 
found  it  necessary  to  follow  the  irregularities  or  bends  of  the  tree. 
Thus  we  find  near  the  upper  portion  of  the  left  side  a  depression 
extending  for  two  feet.  This  depression  is  f  inch  deep  in  front  and 
nearly  ^  inch  deep  at  the  back  ;  and  on  the  right  side  near  the  lower 
termination  a  depression  extending  for  1  foot,  which  is  in  front  ^  inch 
deep  and  f  inch  deep  at  the  back. 

^  It    is     stated     in     the     Lomberdale     House  -  Mr.   Galpin    in    the    most  generous   manner 

Catalogue  that  the  drawing  was  by  D.  Maclise,  permitted  the  writer  not  only  to  photograph  this 

R.A.,  who  was  certainly  a  friend  of  Croker's  ;  but  Harp,  but  also  any  other  of  the  numerous  instru- 

Mr.  and  Mrs.  Hall,  who  usually  notice  the  illustra-  ments   belonging  to   him   which  formed  jjart  of 

tors,   do  not  mention  by  whom  the  drawing  was  the    exhibition   of   musical    instruments    at   the 

made.     There  are  also  small  illustrations  in  Fairy  Crystal  Palace  in  1900. 

Legends,  Edn.  1898,  and  in  Ancient  Musical  Instru-  ^  Fairy  Legends,  Edn.  1826,  p.  198. 

ments  (the  Galpin  Collection)  by  William  Lynd.  ■*  The  Worthies  of  Ireland,  Richard  Ryan,  p.  228. 


THE      BUNWORTH      HARP 


THE    IRISH    HARP 


93 


This  Harp  is  well  decorated.  The  ornamentation  mainly  consists  of 
wavy  stems  with  foliage,  from  which  spring  roses,  thistles,  and  lilies — 
symbolical  of  England,  Scotland,  and  France — and  as  the  shamrock  is  not 
represented,  the  Harp  itself  may  be  accepted  as  the  symbol  of  Ireland.  The 
patterns  are,  as  a  rule,  shown  by  incised  lines,  and  are  enriched  by  colour. 

The  box  is  formed  out  of  a  solid  block.  The  soundincf-board,  which 
is  convex  both  at  the  upper  and  lower  extremities,  has  been  drawn  up 
in  an  unusual  manner  by  the 
tension  of  the  strings,  so  at 
the  highest  portion  we  find  the 
string- band  2\  in.  above  the 
sides  of  the  box.  The  raised 
string-band,  which  is  at  the 
upper  end  1^  in.  wide,  and  at 
the  lower  extremity  2|-  in., 
terminates  at  the  upper  end  in 
a  fleur-de-lis  in  relief.  This 
string-band,  which  ceases  to  be 
in  relief  as  it  approaches  the 
fore-pillar,  is  then  indicated  by 
incised  lines,  and  terminates  in 
a  lily  of  different  form,  also 
shown  by  incised  lines  and 
colour.  In  place  of  "  shoes  of 
the  strings"  there  are  short 
pieces  of  thin  brass  perforated 
and  attached  to  the  string- 
band.  There  are  no  sound- 
holes.  The  width  of  the  box 
at  its  lower  termination  is 
I3f  in.,  at  the  first  string-hole  in  the  treble  5|-  in.,  and  at  the  upper 
extremity  4  in.  The  length  of  the  box,  which  terminates  at  either  side 
of  the  projecting  block  in  straight  Hnes,  is  41f  in.  The  projecting  block 
is  only  2  in.  in  length,  and  is  shaped  or  cut  both  from  the  sounding- 
board  and  from  the  back.  An  examination  of  the  interior  of  the  lower 
portion  of  the  box  shows  that  no  block  of  wood  has  been  left  above  the 


94  MUSICAL    INSTRUMENTS 

projecting  block,  and  that  the  end  of  the  box  is  If  in.  thick.  The 
thickness  of  the  sounding-board  has  not  been  ascertained,  but  it  is  most 
probably  considerably  thicker  at  the  lower  extremity  than  at  any  other 
part.  The  back  of  the  box,  which  has  two  circular  cavities  or  sound - 
holes,  is  not  fitted  into  the  sides,  but  is  attached  to  them  and  to  the 
lower  end.  The  depth  of  the  sides  at  the  upper  extremity  is  5^  in., 
about  the  centre  5|^  in.,  and  at  the  lower  termination  4^  in.  At  the  upper 
extremity  the  back  of  the  box  has  been  cut  or  shaped,  i.e.  an  angular 
piece  has  been  removed.  There  is  a  cavity  in  the  upper  portion  of  the 
front  of  the  box  f  in.  deep ;  this  is  carried  backwards  for  S^  in. 

The  harmonic  curve  is  fitted  into  the  cavity  in  the  upper  portion  of 
the  box,  after  leaving  which  at  a  right  angle  it  is  straight  for  some 
distance  before  it  takes  the  usual  curve.  At  the  treble  end  it  is  3f  in. 
deep,  at  the  centre  Sg-  in.,  and  at  the  bass  3  in.  It  is  rounded  above, 
and  is  mortised  into  the  fore-pillar  in  the  more  modern  fashion,  and  held 
together  by  brass  bands  which  form  single  curves  and  are  pierced  for  the 
tuning-jaegs.  The  length  of  the  harmonic  curve,  to  where  it  joins  the 
fore-pillar,  is  31  in.  above,  in  fact,  the  upper  portion  of  the  harmonic 
curve  is  pierced  and  forms  a  graceful  ornament,  the  centre  of  which  is 
unfortunately  missing,  but  the  roughly  cut  portions  show  where  the 
fractures  have  occurred  and  where  in  the  centre  the  scroll  ornament 
joined  the  harmonic  curve. 

The  fore-pillar  is  somewhat  bent,  and  is  carried  up  the  full  height  of 
the  instrument,  forming  the  bass  portion  of  the  harmonic  curve,  and 
terminates  in  a  head,  apparently  that  of  a  female  with  a  pendent  head- 
dress extendinof  back  from  the  chin,  above  which  is  a  cushion,  on  the 
front  of  which  the  coronet  of  a  countess  is  represented  by  incised  lines. 
The  lower  portion  of  this  cushion,  at  the  sides  and  back,  takes  the  form 
of  a  series  of  semicircles.  The  fore-pillar,  which  is  not  inserted  into  the 
projecting  block  as  is  usual,  joins  the  sounding-board  one  inch  from  the 
end  of  the  box ;  it  has  the  T  formation  the  whole  length.  The  greatest 
width  of  the  T  formation  in  front  is  3f  in.,  the  thickness  of  the  outer 
edge  being  f  in.  increasing  to  f  in.,  the  entire  depth  of  the  fore-pillar 
being  3  in.  The  width  of  the  upper  portion  of  the  fore-pillar  is  2^  in., 
from  the  middle  to  the  lower  end  f  in.,  at  the  back  |^  in.  The  length  of  the 
fore-pillar  is  5  ft.  3  in.     The  total  height  of  the  instrument  is  5  ft.  6^  in. 


THEIRISHHAKP  95 

The  bands  through  which  the  tuning-pegs  pass  form  single  curves, 
and  are  pierced  for  thirty-three  tuning-pegs ;  the  length  of  the  shortest 
string  is  3f  in. ,  that  of  the  string  attached  to  the  last  tuning-peg  in  the 
bands  is  40  in.  Besides  the  tuning-pegs  in  the  bands  there  are  four  in 
the  upper  portion  of  the  fore-pillar — the  length  of  the  string  from  the 
uppermost  of  these  is  44^  in.,  that  from  the  second  41^  in.,  that  from  the 
third  39^  in.,  and  that  from  the  fourth  or  lowest  38|^  in.  Most  of  the 
tuning-pegs  are  old  and  are  ornamented ;  the  strings  are  modern.  The 
last  string-hole  in  the  bass  is  3  inches  from  the  fore-pillar  and  8  inches 
from  the  end  of  the  box.  The  first  string  hole  in  the  treble  is  3|-  inches 
from  the  junction  of  the  harmonic  curve  and  the  box. 

The  ornamentation  of  the  box  is  indicated  by  incised  lines  and 
colour,  the  ground  being  chocolate,  the  other  tints  mainly  sober  red 
and  white.  The  lily  at  the  lower  termination  of  the  string- band 
is  repeated  at  either  side  of  the  lower  extremity  of  the  sounding-board. 
There  are  six  ornaments  in  place  of  sound-holes.  These  are  shown  by 
incised  lines,  and  are  painted  red  and  white  ;  in  form  they  are  hexafoils 
inclosed  in  circles,  the  hexafoil  terminations  being  joined  by  inverted 
semicircles.  On  either  side  of  the  sounding-board  there  is  a  border  in 
colour  terminating  in  the  half  lily  ornamentation  before  referred  to, 
the  other  half  of  each  lily  being  represented  upon  the  sides  of  the  box. 
From  each  of  these  half  lily  ornaments,  and  running  along  the  edge 
nearest  to  the  angle  formed  by  the  sides  of  the  box,  are  borders  indicated 
by  a  series  of  incised  semicircles ;  these  borders  are  carried  round  the 
upper  ends  of  the  sides  of  the  box  and  along  the  lower  portion  of  the 
sides.  Within  the  spaces  surrounded  by  these  bands  the  x'ose,  thistle,  and 
lily  are  represented  on  the  left  side  by  incised  lines  and  coloured  sober 
red.  The  rose  and  lily  alone  are  represented  upon  the  right  side,  and  are 
variegated  in  colour. 

The  front  of  the  fore-pillar  beneath  the  female  head  already  noticed 
has  the  sides  straight  for  some  distance,  then  a  large  circle  with  two 
inner  circles,  below  which  the  sides  represent  for  a  considerable  portion 
of  the  entire  length  a  series  of  semicircles,  and  larger  circles  with 
two  inner  circles  and  straight  sides  terminate  the  fore-pillar.  The 
ornamentation  between  the  upper  and  lower  circles  is  shown  by  incised 
lines.     In  the  centre  the  following  occurs  :  "  Made  by  John  Kelly  for  the 


96  MUSICAL   INSTEUMENTS 

Eev.  Charles  Bunworth,  Baltdaniel,  1734"  ;  above  which  is  a  thistle  and 
beneath  a  lily,  both  being  well  represented.  On  the  left  side  of  the  fore- 
pillar  and  behind  the  T  formation  the  rose,  thistle,  and  lily  occur,  while 
on  the  right  side  the  rose,  thistle,  and  lily  also  appear.  The  back  of  the 
fore-pillar  is  without  ornament. 

Upon  the  left  side  of  the  harmonic  curve  the  rose,  thistle,  and  lily 
appear,  while  on  the  right  side  the  rose  and  lily  only  are  represented. 

The  harmonic  curve  and  the  fore-pillar  are  attached  to  the  box  by 
iron  straps,  each  having  at  their  extremities  fleur-de-lis  ornaments ; 
these  straps,  which  are  nicely  fitted  and  attached  by  screw-nails,  are 
probably  modern. 

The  Harp  has  not  the  appearance  of  having  been  much  used ;  that 
is,  the  angles  formed  by  the  sounding-board  and  sides  are  not  rounded  off 
or  worn  away  as  they  would  be  had  they  been  subjected  to  constant 
friction  from  the  wrists  or  arms.  The  original  keys  do  not  show  signs  of 
wear.  Upon  the  left  side  of  the  sounding-board  a  piece  has  been  added, 
and  upon  the  left  side  of  the  box  two  pieces  have  been  let  in.  If  these 
are  ■  not  the  work  of  John  Kelly  the  ornamentation  has  been  well 
reproduced.  The  Harp  is  much  worm-eaten,  and  as  it  is  painted  the 
wood  used  in  its  construction  has  not  been  ascei'tained. 

THE   HOLLYBROOK    HARP 

This  Harp  is  unlike  any  of  those  already  described,  and  is  the  only 
known  specimen  of  considerable  antiquity  the  box  of  which  is  not  cut 
out  of  a  solid  block.  It  is  probable  that  logs  of  bog  sallow  were  not 
obtainable  within  easy  reach, ^  and  the  difficulty  of  transporting  a 
suitable  block  from  a  distance  was  so  great,  that  the  artificer  was  forced, 
in  place  of  constructing  the  box  of  the  instrument  in  the  accustomed 
manner,  to  build  or  construct  it  out  of  several  pieces.  It  appears  that 
he  was  aware  of  the  usual  form  and  followed  it.  The  lower  portion 
of  the  box,  for  instance,  shows  what  was  intended  to  represent  a 
stunted  projecting  block,  on  either  side  of  which  the  sounding-board 
terminates  in  curves.  Again  the  grain  of  the  wood  of  the  sounding- 
board    runs   along   the  strings,   and   the  sides  of  the   box   are  deeper 

1  There    are     no    bogs    along    the    low-lying       of  Dublin.     Bogs  do  occur  in  Wicklow,  but  upon 
portions  of  Wicklow  or  the  neighbouring  county       the  high  ground  where  willow  would  not  grow. 


THE      HOLLY  BROOK      HARP. 


THE    IRISH   HARP 


97 


at  the  upper  extremity  than  at  the  lower  termination.  As  the 
artificer  has  shown  great  ingenuity  in  the  construction  of  the  box, 
the  following  probable  method  adopted  by  him  may  perhaps  interest 
the  reader.  A  block  2  in.  long  was  first  prepared,  two  curved  pieces 
of  wood  ^  in.  thick  were  attached  to  it  at  1^  in.  from  the  termination. 
To  the  outer  portion  of  these  curved  pieces  of  wood  the 
sides  of  the  box  wei'e  attached  (Fig.  i.).  A  block  of 
wood  1  in.  thick  to  which  the  sides  were  attached  formed 
the  upper  termination  of  the  box.  A  portion  of  this  block, 
wedge-shaped  in  form,  protruded  from  the  termination  of 
the  box;  to  this  the  harmonic  curve  was  fitted  (Fig.  ii.). 
The  framework  of  the  box  being  thus  constructed,  it  was  probably 
placed  upon  a  plank  of  suitable  wood,  perhaps  rather  more  than  an  inch 
thick  ;  lines  were  then  drawn  indicating  the  outer  and  inner 
sides  and  ends  of  the  frame  and  the  projecting  block.  The 
outside  portions  of  this  board  were  then  cut  away  so  as  to 
allow  the  inner  portion  to  be  inserted.  The  sound-holes 
were  then  made  and  the  metal  string-band  attached,  and  the 
exterior  of  the  sounding-board  formed  convex  across  the  strings.  And 
finally,  the  inner  portion  of  the  sounding-board  was  hollowed  into  the 
form  of  a  flattened  arch.  The  sounding-board  being  securely  y^^  jjj 
fastened  to  the  sides,  ends,  and  projecting  block  mouldings, 
the  section  representing  a  segment  of  a  circle  was  attached 
so  as  to  cover  all  the  joinings  (see  section.  Fig.  iii. ),  and  the 
back  covered  in  by  a  board.  It  is  clear  that  this  Harp  was  not  intended 
to  rest  upon  the  lower  termination  of  the  box,  for  there  are  two  holes  in 
the  outer  portions  of  the  curved  pieces  of  wood  into  which  pegs  or 
supports  were  screwed ;  the  worms  of  the  screws  are  distinctly  visible 
(Fig.  I.).  The  sounding-board,  the  grain  of  which  runs  along  the  strings, 
has  been  slightly  raised  by  the  tension  of  the  strings.  In  thickness 
it  is  5  in.,  and  in  it  are  six  circular  sound-holes,  1  in.  in  diameter. 
There  is  no  raised  string-band,  but  in  place  of  the  "  shoes  of  the  strings  " 
there  is  a  metal  band  f  in.  wide,  extending  from  the  fore-arm  to  the 
harmonic  curve.  This  band  is  pierced  for  thirty-eight  strings,  the  holes 
being  ^  in.  at  the  surface  and  ^  in.  next  the  wood.  This  metal  string- 
band  is  certainly  old,  it  is  fastened  by  nails  and  is  fairly  strong,  but  not 


98 


MUSICAL   INSTEUMENTS 


thick,  and  would  not  interfere  much  with  the  vibration ;  it,  however, 
did  not  answer  the  purpose  intended,  as  the  sounding-board  is  badly 
Fig.  IV.  split  for  some   length  along  the    string- 

holes.  The  raised  string-bands  to  be 
found  upon  the  older  Harps  appear  better 
to  have  withstood  the  tension  of  the 
strings  than  this  metal  band  fastened  as  it 
is  by  ordinary  nails.  The  sounding-board 
is  4|^  in.  broad  at  the  upper  extremity, 
and  94  in.  broad  at  the  lower  termination. 


The  length  of  the  box  is  37  in.  ;  the  sides 
are  5f  in.  deep  at  the  upper  extremity, 
and  4|-  in.  deep  at  the  lower  termination. 
In  the  board  now  covering  the  back  of 
the  box  there  is  a  large  cavity.  The 
board  is  badly  fitted  and  may  not  be  that 
originally  supplied.  As  there  are  six  sound- 
holes  through  which  the  instrument  could 
be  re-strung,  a  cavity  at  the  back  was 
unnecessary.  All  the  portions  of  the  box 
are  most  carefully  put  together,  and,  if 
when  constructed  and  decorated  there 
was  no  cavity  at  the  back,  it  must  have 
been  difficult  to  trace  the  several  joinings. 
That  portion  of  the  block  at  the 
iipper  termination  of  the  box,  to  which 
the  harmonic  curve  is  attached,  does  not  rise  from  the  centre  of  the 
box  (Fig.  II.),  the  measurement  on  the  left  side  being  1|-  in.,  while 
that  on  the  right  side  of  it  is  1|-  in.  This  arrangement  allows  the 
strings  to  be  more  perpendicular  than  they  otherwise  would  be.  The 
bands  through  which  the  tuning-pegs  pass  are  iron,  and  form  single 
curves.  They  are  pierced  for  thirty-nine  tuning-pegs,  some  of  which  are 
plain,  while  others  show  two  forms  of  ornamentation,  both  old.  The 
length  of  the  shortest  string  is  2f  in.,  that  of  the  longest  string  is  37  in. 
The  strings  at  present  on  the  Harp  are  all  brass,  of  the  same  gauge,  and 
are  modern.     The  upper  portion  of  the  harmonic  curve  is  rounded,  and 


THE   lEISH    HAEP  99 

has  a  moulding  on  either  side.  About  the  centre  there  is  a  rude  repre- 
sentation of  a  crown  in  relief.  The  fore-pillar  is  remarkable  :  it  springs 
from  that  portion  of  the  sounding-board  which  covers  the  projecting 
block.  It  is  almost  straight,  and  joins  the  harmonic  curve  in  the  more 
modern  fashion,  the  upper  termination  being  curved  backwards  in  the 
form  of  a  scrolL  Near  to  the  junction  with  the  harmonic  curve  there  is 
a  perforation  in  the  form  of  a  triangle.     This  is  an  unusual  -,, 

feature.     There  is  no  T  formation,  but  the  section  shows     p"--.,       ""l 
the   form   of  a  stunted  Y,  which  is  one   of  considerable    cf&\         / 
strength  (Fig.  v.).'    The  extreme  height  of  the  instrument  '~~'~"' 

unsupported  bj  pegs  is  4  ft.  1^  in. ;  the  greatest  width  is  2  ft.  2|-  in. 

This  Harp  is  painted  and  decorated.  The  colour  foundation,  sober 
red,  is  varied  by  splashes  of  rich  brown,  or  dark  brownish  green.  Upon 
this  foundation  the  designs  are  traced.  These  designs  are  in  gold,  out- 
lined in  black,  black  lines  being  added  when  necessary  to  increase  the 
effect.  The  Harp  had  originally  not  been  varnished,  so  the  greater 
portion  of  the  gold  had  disappeared  before  varnish  was  applied  ;  but  upon 
that  portion  least  likely  to  have  been  subjected  to  friction,  that  in  the 
under  side  of  the  harmonic  curve,  the  ornamentation  is  distinct.  The 
ornamentation  may  be  described  as  an  attempt  to  represent  a  Chinese 
design.  Upon  the  left  and  right  sides  of  the  box  there  are  foliaceous 
patterns.  Upon  the  front  of  the  fore-pillar  there  appears  to  have  been  a 
foliaceous  pattern,  and  a  foliaceous  pattern  fairly  distinct  is  also  to  be 
seen  upon  the  lower  side  of  the  harmonic  curve.  The  sounding-board 
received  more  attention  from  the  decorative  artist  than  the  other 
portions  of  the  instrument.  At  the  lower  termination  and  upon  the  left 
side  there  is  an  arrangement  of  leaves  and  fruit,  while  upon  the  right  side 
an  arrangement  of  leaves  and  flowers  is  fairly  distinct.  Between  the 
second  and  third  sound-holes,  and  upon  the  left  side,  a  bird  with  long, 
straight  neck  and  head,  apparently  an  ostrich,  is  distinctly  visible  ;  while 
upon  the  right  side  a  bird  with  a  long,  waving  neck  can  be  traced.  Between 
the  first  and  second  sound-holes,  and  on  the  left  side,  a  figure  of  a  man. 
with  a  hat,  very  Chinese  in  form,  is  distinctly  seen  ;  while  upon  the  right 

'  When  preparing  the  drawing  of  this  Harp,  drawing.     In  front   the   measurement  is  2i   in., 

the  writer  found  it  impossible  to  do  more  than  from    front    to    back    If   in.,    the   circumference 

indicate    the    outline    of    the    fore-pillar.      The  being  6  inches, 
section,    Fig.    v.,    is    reduced   from   a   full-sized 


100  MUSICAL    INSTEUMENTS 

side  there  is  the  figure  of  a  man,  very  indistinct,  and,  above,  an  eagle. 
Between  the  upper  termination  of  the  box  and  the  first  sound-holes  on 
both  sides,  there  are  foliaceous  designs.  The  Harp  shows  signs  of  having 
been  considerably  used. 

It  is  not  known  how  long  this  Harp  has  been  at  HoUybrook.  It  is 
supposed  to  date  from  1720,  and  is  old  enough,  and  is  believed  to  have 
been  the  Harp  of  a  former  proprietor,  Robert  Adair,  "  so  famous  in  a 
number  of  songs  in  Scotland  and  Ireland,"  as  M.  de  Latocnaye,  who 
visited  Hollybrook  in  1796,  informs  us.'  The  author  of  the  words  of  the 
song,  Robin  Adair,  so  happily  wedded  to  the  ever  fresh  and  beautiful 
melody,  Eileen  Aroon,^  is  not  known.  They  were  sung  by  Braham  at  his 
benefit  in  1811,  and  may  have  been  old  at  that  period.  Much  has  been 
written  about  them,  but  no  definite  statement  can  be  made. 

Robert  Adair  of  Hollybrook  was  the  ancestor  of  the  present  possessor 
of  the  Harp,  Sir  Robert  Adair  Hodson,  Bart.,  of  Hollybrook,  County 
Wicklow,  where  it  is  still  preserved,  who  has  kindly  allowed  it  to  be 
photographed  for  the  purpose  of  illustrating  this  work.^ 

Of  this  Harp  a  half-tone  block  illustration  from  a  photograph  appeared 
in  The  Leisure  Hour  for  January  1901.  It  is  to  be  regretted  that  this 
illustration  fails  to  show  the  triangular  perforation  of  the  fore-pillar,  the 
most  distinctive  feature  of  the  instrument. 


A   HARP   BY   JOHN    E6AN 

This  instrument,  believed  to  have  been  the  fii'st  made  by  this  noted 
maker,  is  deserving  of  notice,  as  it  is  perhaps  the  most  interesting  of  the 
more  modern  specimens.  Egan,  when  constructing  this  Harp,  must  have 
had  an  ancient  Harp  before  him,  the  form  of  which  he  followed  with 
slight  variations. 

"  John  Egan,  No.  25  Dawson  Street,  1809,"  is  engraved  upon  one  of  the 
metal  bands  through  which  the  tuning-pegs  pass,  and  upon  the  sounding- 
board   there  is  an  inscription  in  German  text,  some  of  which  is  now 

'  There  is  no  similar  statement  regarding  any  Hardinian's  Irish  Minstrelsy, 

other  Robert  Atlair,  and  as  Ue  Latocnaye  visited  '  The  writer  is  indebted  to  Lady  Hodson  for 

Hollybrook,   he  presumably  got  his   information  allowing    him    to    examine    this    Harp,    and    to 

upon  the  spot. — Leisure  Hour,  January  1901.  Miss  Hodson    for  drawings,   measurements,   and 

-  Petrie,  in  O'Curry's  Lectures,  vol.  iii.  p.  29S  ;  descriptioua  of  the  instrument. 


THE    lEISH    HAEP  101 

indistinct,  but  a  transcript  was  made  many  years  since,  and  attached  to 
the  back  of  the  Harp,  of  which  the  following  is  a  copy  : — 

"The  Harp  once  made  at  your  command, 
With  ancient  song,  shall  charm  the  land  ; 
While  each  young  and  poor  Orphan  boy 
From  your  high  bounty  finds  employ ; 
May  kindliness  sweet  peace  prolong. 
And  glad  inspire  the  dance  and  song." 

In  1809  the  Harp  Society  was  started  in  Dublin,  the  first  Belfast 
Harp  Society,  which  was  instituted  in  1807,  being  at  the  time  in  a 
flourishing  state.  This  instrument  may  have  been  the  first  made  by 
Egan  for  either  of  those  institutions. 

The  box  of  this  Harp,  which  is  built  up  or  constructed  of  several 
pieces,  is  flat  at  the  sides,  and  has  a  projecting  block  5^  in.  long.  The 
lower  portion  of  the  box  takes  the  form  of  semicircular  curves  at  either 
side  of  the  projecting  block.  The  sounding-board,  the  grain  of  which 
runs  across  the  strings,  has  no  sound-holes.  It  is  37^  in.  long,  4^  in. 
broad  at  the  upper  extremity,  and  ll|^  in.  broad  at  the  lower  termination. 
It  has  a  fairly  wide  and  deep  string-band,  pierced  for  thirty-six  strings, 
with  wire  protections  above  each  hole.  The  sides  of  the  box  are  36  in. 
long  both  at  the  front  and  at  the  back.  The  depth  at  the  upper 
extremity  is  3  in. ;  2^  in.  lower  it  is  3f  in.,  and  at  the  lower  termination 
4f  in.  Here  Egan  no  doubt  altered  the  form.  Almost  all  the  ancient 
harps  that  are  extant  have  the  sides  of  the  box  the  same  depth  through- 
out, or  deeper  at  the  upper  than  at  the  lower  extremity.^  The  pro- 
jecting block,  which  is  formed  of  two  pieces,  is  4  in.  deep. 

The  fore-pillar,  which  is  without  the  T  formation,  is  slightly  curved, 
is  perfectly  plain,  and  is  formed  out  of  one  piece  of  wood.  The  lower 
portion  is  inserted  into  the  projecting  block,  while  the  upper  extremity 
is  turned  backwards,  and  is  formed  into  a  representation  of  the  neck  and 
head  of  an  eagle.  This  neck  and  head  have  been  added.  Thei-e  is  no 
indication  of  the  original  form  of  the  upper  portion  of  the  fore-pillar,  but 
it  may  have  been  a  scroll.  The  length  from  the  end  of  the  projecting 
block  to  the  present  termination  of  the  fore -pillar  is  53^  in.  ;  the  length 
of  the  fore-pillar,  from  where  it  joins  the  sounding-board,  is  45f  in. 

'  The  Belfast  Museum  Harp  is  an  exception. 


102  MUSICAL   INSTEUMENTS 

The  harmonic  curve  rises  from  the  centre  of  the  termination  of  the 
box ;  it  then  takes  a  curve  tov^ards  the  right  as  in  the  modern  harps. 
It  is  of  one  piece  of  vi'ood  and  joins  the  fore-pillar  in  the  more  modern 
fashion,  and  is  furnished  v^^ith  two  metal  bands  forming  single  curves ; 
these  are  pierced  for  thirty-six  pegs,  all  of  v^hich  are  in  their  places 
and  are  slightly  ornamented  in  imitation  of  those  upon  more  ancient 
specimens.  These  pegs  do  not  extend  far  upon  the  left  side.  There  are 
no  nuts  or  straining-pins.  The  shortest  string  is  2|-  in.,  the  longest  is 
39|-  in.  The  greatest  width  of  the  instrument  is  26  in.  The  length 
from  the  end  of  the  projecting  block  to  the  upper  portion  of  the  harmonic 
curve  after  it  leaves  the  box  is  46  in.  The  fore-pillar  has  not  been  bent 
towards  the  left,  nor  has  the  sounding-board  been  drawn  up  by  the 
tension  of  the  strings.  There  is  a  large  cavity  at  the  back  of  the  box. 
The  instrument,  which  does  not  show  much  signs  of  wear,  is  in  form  much 
superior  to  the  harps  supplied  by  Egan  to  the  second  Belfast  Harp 
Society.  From  a  MS.  statement  on  the  back  of  the  box  we  learn  that 
this  instrument  was  played  upon  at  the  "  Liberator's  "  chairing  as  M.P.  for 
Dublin  in  1832.  This  Harp  is  in  the  possession  of  E.  W.  Hennell,  Esq., 
who  has  most  obligingly  allowed  the  writer  to  examine  and  measure  it. 


HARP   AT   SOUTH   KENSINGTON 

In  the  Victoria  and  Albert  Museum  there  is  a  Harp,  which  was  pre- 
sented in  1872  by  the  Ven.  Archdeacon  Saurin  ^  as  having  belonged  to  a 
celebrated  harper,  whose  name,  unfortunately,  was  not  noted.  The  box 
of  this  instrument,  which  is  built  up  or  constructed  out  of  several 
pieces,  differs  in  form  from  that  of  the  older  specimens,  the  sides  being 
deeper  at  the  lower  termination  than  at  the  upper  extremity.  The 
sides  of  the  box  are  cut  at  acute  angles  from  the  sounding-board  at 
the  lower  termination  so  as  to  form  a  stand.  The  sounding-board  is  f  in. 
thick  and  is  fastened  to  the  upper  portion  of  the  sides  of  the  box, 
having  along  the  edges  narrow  pieces  of  wood  ^  in.  deep.  The  width 
at  the  lower  termination  is  ll|-  in.,  and  at  the  upper  extremity  5|-  in. 

'  Probably  the  gentleman  of  the  same  name  of  1852.  This  Harp  was  not  one  of  the  exhibits  ; 
Seagoe,  County  Armagh,  who  contributed  to  the  it  may  not  have  been  in  the  Archdeacon's  posses- 
collection  of  autifjuities   exhibited   at  Belfast  in       sion  at  that  period. 


THE    lEISH    HAEP 


103 


The  grain  of  the  wood  runs  across  the  strings.  There  are  no  sound- 
holes,  but  there  are  cavities  at  the  back  of  the  box.  Attached  to  the 
sounding-board  there  is  a  narrow  but  strong  iron  band  pierced  with 
forty-one  holes  for  strings.  Of  these  holes  two  in  the  treble  and  one 
in  the  bass  are  over  the  solid  wood, 
leaving  thii-ty-eight  holes  that  could 
be  used  for  strings. 

The  construction  of  this  Harp  shows 
the  artificer  to  have  had  considerable 
ingenuity.  At  the  lower  termination 
of  the  box  a  block  1|-  in.  deep  is  in- 
serted. A  portion  of  this  block  projects 
2f  in.  in  front ;  into  this  projection 
the  end  of  the  fore-pillar  is  inserted. 
"Within  the  upper  portion  of  the  box 
there  is  a  block  4  in.  deep ;  into  this 
block  the  harmonic  curve  is  inserted, 
not  in  the  centre  but  considerably 
nearer  to  the  right  side  than  to  the 
left ;  that  is  the  harmonic  curve,  which 
is  1^  in.  wide,  is  1|-  in.  from  the  right 
side,  and  2f  in.  from  the  left  side. 
The  harmonic  curve  is  inserted  in  the 
block  from  the  front  to  the  back  of  the 
box,  the  depth  of  the  insertion  being 
If  in.  At  the  lower  termination  the 
projection  into  which  the  fore-pillar  is 
inserted  is  2|  in.  from  the  right  side  and  4f  in.  from  the  left  side.  This 
arrangement  allows  the  strings  to  be  more  perpendicular  than  they 
otherwise  would  have  been.  The  leng-th  of  the  box  in  front  is  48  in., 
but  at  the  back  only  46  in.  The  sides  at  the  lower  termination  are 
8|-  in.  deep,  while  at  the  upper  extremity  they  are  6^  in.  deep.  The 
back,  which  is  -^^  in.  thick,  is  nailed  to  the  sides  and  ends. 

The  fore-pillar  is  curved ;  there  is  no  T  formation,  but  it  has  in  front 
a  fairly  deep  moulding.  At  the  lower  termination  it  is  If  in.  wide  ;  some- 
what higher  it  is  l^  in.  wide,  and  continues  of  that  width  to  the  upper 


104  MUSICAL   INSTEUMENTS 

extremity,  when  it  takes  a  backward  curve  and  terminates  in  a  scroll, 
most  of  which  has  disappeared,  but  a  portion  is  visible  upon  the  right 
side.     The  extreme  height  is  4  ft.  3f  in. 

The  harmonic  curve  where  it  joins  the  box  is  2f  in.  deep,  afterwards 
2|-  in.  deep,  and  is  25  in.  in  length  from  the  sounding-board.  It  is 
formed  in  the  more  modern  fashion,  and  joins  the  fore-pillar  nearer  to 
the  box  than  is  usual.  The  extreme  width  of  the  instrument  is  dl^  in. 
The  metal  bands  through  which  the  tuning-pegs  pass  form  single  curves, 
and  are  pierced  for  forty-one  tuning-pegs.  There  are  no  nuts  or  straining- 
pegs. 

As  stated,  the  instrument  has  on  the  sounding-board  thirty-eight 
serviceable  string -holes.  Supposing  thirty-eight  to  have  been  the 
number,  the  shortest  string  would  be  2f  in.  and  the  longest  A2^  in. 
There  are  five  holes  in  the  treble  without  strings.  Passing  these, 
there  are  seventeen  strings  of  steel  wire,  all  of  which  gauge  C,  1st  oct. 
The  first  of  these  seventeen  strings  measures  i^  in.,  and  the  seventeenth 
measures  16|-  in.  The  eighteenth  string,  which  is  of  brass,  measures 
17f  in.,  the  gauge  being  between  D  and  E,  4th  oct.  The  following 
eight  strings,  including  the  twenty-sixth,  are  of  the  same  gauge  as 
the  eighteenth.  The  twenty-seventh  string  gauges  D,  4th  oct.  ;  the 
twenty-eighth  string,  between  D  and  E,  4th  oct.  ;  the  twenty-ninth, 
between  E  and  F,  4th  oct.  ;  the  thirtieth,  between  D  and  E,  4th  oct.  ; 
the  thirty-first  and  thirty -second,  between  E  and  F,  4th  oct.  The 
thirty-third  is  missing. 

This  Harp  is  neatly  made,  but  is  not  painted  or  decorated.  It  is 
not  worn  at  the  sides  of  the  box,  as  it  would  have  been  had  it  been 
much  used;  and  as  it  was  presented  to  the  museum  as  late  as  1872, 
the  strings  may  not  be  correct.  It  is  a  genuine,  but  late,  specimen,  and 
in  form  somewhat  resembles  the  instrument  Arthur  O'Neill  is  re- 
presented as  playing  upon,  but  it  is  quite  evident  it  is  not  that 
instrument.  It  is  stated  that  the  sounding-board  of  this  Hai-p  is  of 
Swiss  pine,  but  it  resembles  common  deal.  The  wood  used  could  not 
have  been  seasoned  when  placed  upon  the  instrument.  It  is  badly 
shrunk  and  cracked  in  seven  different  places.  The  remainder  of  the 
instrument  is  of  beech  wood  and  is  much  worm-eaten. 


THE   IRISH    HAEP  io5 


THE   CHARLEMONT   HARP 


A  Harp  of  a  late  period,  but  of  some  interest,  is  in  the  possession  of 
Professor  Glover,  of  Dublin.  It  formerly  belonged  to  Mary,  Countess  of 
Charlemont,  wife  of  the  Volunteer  Earl.  The  Harp  is  green,  and  relieved 
by  gilding ;  the  fore-pillar,  which  is  straight  and  fluted,  is  surmounted 
by  a  coronet  and  scarlet  cap.  There  are  only  twenty-eight  strino-s. 
The  height  of  the  fore-pillar  is  3  ft.  10  in.^ 

Two  other  wire-strung  Harps  of  a  somewhat  later  pei^iod  may  be 
seen  in  the  Belfast  and  Dublin  Museums.  The  first  is  of  the  Sheraton 
period,  and  is  of  little  consequence.  It  is  probably  the  Harp  which 
was  exhibited  at  Belfast  in  1852  by  Mr.  E.  Lindsay  as  "stated  to  be 
that  of  Hempson,"  but  the  instrument  belonging  to  that  harper  has 
already  been  noticed  as  preserved  at  DownhiU.  The  second,  which 
was  sold  to  the  Royal  Irish  Academy  as  the  Harp  of  Carolan,  is  a 
fraud,  and,  as  Petrie  remarks,  is  "  wholly  unworthy  of  a  place  in  the 
great  museum  in  which  it  is  deposited." 

The  three  last  mentioned  Harps  are  drawing-room  instruments. 
Many  such  were  doubtless  constructed  towards  the  close  of  the 
eighteenth  century,  when  ladies  still  played  the  Irish  Harp. 


BELFAST    SOCIETY   HARPS 


The  Harps  made  for  the  second  Belfast  Hai'p  Society,  Dr.  Petrie 
states,  as  far  as  he  was  aware,  were  all  made  by  Egan,  the  eminent 
Dublin  Harp-maker.  One  of  these,  which  has  been  noticed  (p.  52) 
and  is  represented  on  the  frontispiece,  is  5  ft.  1  in.  in  height.  The 
box,  or  more  correctly  speaking,  the  body,  has  a  rounded  back  similar 
to  that  of  a  modern  Pedal-Harp,  and,  like  that  instrument,  the  four 
sound-holes  are  also  placed  at  the  back.  Those  portions  of  the  sides 
to  which  the  sounding-board  is  attached  are  curved,  and  o-ive  a 
longitudinal  curve  to  the  sounding-board.  The  sounding-board,  which 
has  the  grain  across  the  strings,  has  a  raised  string  band  and  wire 
guards  above  the  string-holes.  Shamrocks  painted  green  are  distributed 
over  a  large  portion  of  the  surface,  and  also  the  Royal  Arms  and  the 
following  inscription  upon  it  painted  in  red  : — "  Manufactured  for  the 

'  Comraunieated  by  T.  H.  Longfield,  Esq. 

0 


106 


MUSICAL    INSTEUMENTS 


Belfast  Irish  Harp  Society,  No.   1933,  By  Egan,  Dublin,  Harp  Maker 
to  His  Majesty  George  iv.  and  the  Royal  Family." 

The  width  of  the  sounding-board  at  the  lower  termination  is  15|^in.,  and 
at  the  upper  extremity  3;^  in.  The  length  is  4  ft.  1:|^  in.  On  the  inner 
side  the  sounding-board  is  strengthened,  not  only  by  a  string-band,  but 
by  two  pieces  of  wood,  attached  longitudinally  between  the  string-band 
and  the  sides.  These  extend  almost  the  full  length.  The  harmonic 
curve  is  consti'ucted  out  of  a  number  of  pieces  of  wood  carefully  joined. 
There  are  two  complete  pieces ;  one  of  these  is  in  the  centre  and  the 
other  at  the  right  side.  Between  these,  and  on  the  left  side,  are  several 
pieces  joined  together.  There  are  nuts  or  straining-pegs  for  the  strings, 
but  the  metal  bands,  through  which  upon  the  ancient  Harps  the  tuning- 
pegs  pass,  not  being  required  for  a  harmonic  curve  so  constructed, 
are  wanting.  This  portion  of  the  instrument  is,  however,  further 
strengthened  and  supported  by  an  iron  band  which  extends  the 
entire  length  along  the  under  side,  to  which  it  is  attached  by  screw-nails. 
The  fore-pillar,  which  is  slightly  curved,  is  without  the  T  formation,  but 
is  formed  of  two  pieces  joined  together.  This  has  not  had  the  effect  of 
resisting  the  tension  of  the  strings,  so  the  upper  portion  of  the  fore- 
pillar  leans  somewhat  towards  the  left.  There  are  thirty-seven  strings  ; 
the  shortest  is  2f  in.  and  the  longest  4  ft.  5f  in.  When  purchased  in 
Dublin  this  Harp  had  a  number  of  strings  or  portions  of  strings  attached 
to  it.  There  were,  counting  missing  strings,  twenty- one  of  steel  and 
sixteen  of  brass  wire.  Some  of  the  strings  were  of  an  incorrect  gauge. 
The  following  appears  to  have  been  the  original  gauge  : — 


1st  string,     2f 

20th       , 

16 

21st 

,       I7f 

22nd      , 

,    m 

26th      , 

,       281 

27th       , 

,        31i 

31st 

.       421 

23rd       , 

,       44f 

37th       , 

,        53f 

in. 


long. 


Steel,     Gauge  B,  1st.  Oct. 

E,  2nd    ,, 
Brass,         „       D,  Srd     „ 

,,  ,,       C,  3rd      ,, 

B,  Srd     „ 


It  is  interesting  to  note  that  upon  ancient  Harps,  the  boxes  of  which 


THE    IRISH    HARP  107 

were  formed  out  of  solid  blocks,  when  the  tension  of  the  strings  drew  the 
sounding-board  upwards,  the  highest  portion  of  the  curve  was  usually 
near  the  centre  string,  whereas  upon  this  specimen  the  treble  alone  has 
been  affected  by  the  tension,  the  curvature  occurring  between  the  first 
and  twenty-fourth  strings,  and  is  highest  at  the  ninth  string. 
Dr.  Petrie  truly  remarks  that  Egan's  instruments  have  little  of  the 
beauty  of  the  ancient  Harps,  and  have  "  nothing  about  them  to  remind 
us  of  the  loved  Hai'p  of  other  days."  Still,  it  is  unlikely  any  harper 
would  be  dissatisfied  with  the  tone  of  the  specimen  described. 

Another  of  these  Harps,  that  which  had  been  played  upon  by  a  young 
harper,  M'Loughlin  (one  of  the  Belfast  scholars)  when  seated  in  front  of 
O'Connell  on  the  triumphal  car  on  which  he  passed  through  the  city  of 
Dublin,  in  1829,  after  the  passing  of  the  Emancipation  Act,  became  the 
property  of  Dr.  Petrie  in  the  following  year. 


HAEP  IN  THE  NATIONAL  MUSEUM,  EDINBURGH 

This  instrument  was  formerly  the  property  of  Mr.  John  Bell,  a 
native  of  Scotland,  who  moved  to  Ireland  early  in  life,  and  resided  at 
Dungannon,  and  by  whom  it  was  exhibited  at  Belfast  in  1852,  and  is 
described  in  the  Catalogue,  p.  7,  as  "the  Harp  of  O'Kelly  restored." 
In  the  Appendix,  p.  11,  there  is  the  following  statement: — "The 
Clarshach,  or  Harp  of  O'Kelly,  was  presented  by  Mr.  Kelly  of  Barley- 
fields,  near  Dundalk,  to  Mr.  Peter  Collins,  a  well-known  violinist.  It 
fell  into  the  possession  of  the  present  owner  in  1812."  While  residing  in 
Dungannon,  Mr.  Bell  made  an  important  collection  of  antiquities,  which, 
on  his  return  to  Scotland,  he  brought  with  him,  and  such  objects  as  were 
considered  of  value  were  purchased  by  Government  in  1867,  a  few  years 
before  his  death,  and  are  now  in  the  National  Museum,  Edinburgh. 

This  Harp,  stated  to  be  the  Harp  of  O'Kelly  restored,  appears  to  be  to 
a  considerable  extent  a  reproduction  of  Hempson's  Harp  at  Downhill, 
which  was  made  by  Cormac  O'Kelly,  but  is  very  inferior  to  that  instru- 
ment. It  is  probable  that  Mr.  Kelly  of  Barleyfields,  perhaps  a  connection 
of  Cormac,  wished  to  possess  a  copy  of  a  genuine  O'Kelly  Harp,  and  had 
one  niade.     If  he  was  familiar  with  the  genuine  O'Kelly  he  could  scarcely 


108  MUSICAL   INSTKUMENTS 

have  been  pleased  with  the  copy.  Mr.  CoUins  then  became  its  possessor. 
The  date,  1812,  at  which  period  it  is  stated  to  have  become  the  property 
of  Mr.  Bell,  is  most  likely  a  printer's  error,  as  that  gentleman  died  about 
1870.  As  stated  before,  there  can  scarcely  be  a  reasonable  doubt  that 
this  Harp  is  a  bad  copy  of  the  0' Kelly  Harp  at  Downhill.  Both  the 
Harps  have  the  head  termination  of  the  fore-pillar,  almost  similar 
terminations  of  the  lower  portion  of  the  box,  similar  ornamentation  over 
the  sound-holes,  and  similar  terminations  to  the  upper  portion  of  the 
sounding-board.^  The  box  of  the  Edinburgh  instrument  is  cut  out  of 
a  solid  block.  The  Harp  has  been  strung,  but  shows  no  signs  of 
having  been  used.  It  is  comparatively  modern,  and  would  probably 
not  be  here  noticed  had  it  not  been  illustrated  in  Drummond's  Scottish 
Weapons,  a  work  of  importance ;  but  as  it  has  been  illustrated  in  that 
work,  the  following  measurements  are  given.  From  the  upper  portion 
of  the  treble  termination  of  the  harmonic  curve  to  the  end  of  the 
projecting  block,  44|^  in.  From  the  back  of  the  box  to  the  front  of  the 
serpent's  (?)  head,  32^^  in.  Length  of  box,  38^  in.  Width  of  sounding- 
board  at  the  upper  extremity,  4f  in.,  at  the  lower  termination,  10|^  in. 
Thickness  of  sounding-board  at  the  lower  sound-holes,  ~{'^^  in.,  at  the 
upper  sound-hole,  f  in.  There  are  six  sound-holes.  The  sounding- 
board  is  convex  throughout — rising  at  the  lower  end  1  in.,  at  the  centre 
1-g^  in.,  at  the  thirteenth  string- hole  -J  in.,  and  at  the  upper  extremity 
f  in.  The  sides  of  the  box  form  straight  lines.  The  depth  at  the  upper 
extremity  is  i^  in.,  at  the  centre  4^  in.,  and  at  the  lower  termination  3f  in. 
The  length  from  the  end  of  the  projecting  block  to  the  highest  portion 
of  the  harmonic  curve  is  about  51  in.  The  raised  string-band  is  pierced 
for  thirty-four  strings.  The  string-holes  have  triangular  pieces  of  brass 
— the  "  shoes  of  the  strings."  These  are  without  ornamentation,  and 
are  attached  at  each  angle  by  nails.  The  metal  bands  through  which 
the  tuning-pegs  pass  are  in  the  form  of  single  curves  and  have  each 
thirty-four  holes,  in  which  are  thirty-four  pegs.  As  this  instrument 
was  made,  and  the  strings  probably  supplied,  at  a  period  when  the 
Irish  Harp  was  in  use,  the  following  gauge  measurements,  etc.,  may  be 
of  value  : — 


'  The  person  who  made  this  Harp  was  presumably  familiar  with  the  Belfast  Museum  Harp. 


THE    lEISH    HARP 


109 


1st  string,  2|  in.  long,      1       g^^^j^    q^^^^^  q^   ^^^  q^.^ 
lath       „     10^      „  i 


14th 
15tli 
16th 
28th 
29th 
34th 


12f 
13i 
31| 
33i 
4li 


} 


Missing. 

Steel,  Gauge  D,  2nd 


Brass, 


D,  3rd 


C,  4th 


At  the  sale,  in  March  1900,  of  the  antiquities  which  had  belonged  to 
the  late  Dr.  Fraser,  what  was  stated  to  be  a  seventeenth  century  Irish 
peasant's  Harp,  of  carved  and  painted  wood,  was  disposed  of  The 
purchaser  of  the  Harp  has  informed  the  writer  that  it  has  twenty-six 
string-holes  and  twenty-six  holes  for  tuning-pegs.  The  box  is  built  up 
or  constructed  of  several  pieces.  The  fore-pillar  is  curved,  but  has  no 
T  formation.  The  date  ascribed  is  not  likely  to  be  correct.  This  Harp 
was  described,  and  an  illustration  exhibited,  at  a  meeting  of  the  Royal 
Irish  Academy  in  May  1879. 

MISSING  SPECIMENS 
Dr.  Petrie  tells  us  that  for  many  years  an  aged  harper  periodically 
visited  Castle  Bellew,  County  Galway,  and  that  Mr.  and  Mrs.  Bellew 
were  struck  by  the  very  ancient  appearance  of  his  Harp.  It  was  small 
and  simply  ornamented,  and  had  attached  to  the  front  of  the  fore-pillar 
a  brass  plate,  on  which  was  engraved  the  name  of  the  maker  and  the 
date  1509.  The  harper  had  always  declared  his  intention  of  bequeathing 
his  Harp  to  his  entertainers ;  but  a  summer  came  during  which  he  failed 
to  appear,  his  Harp  was  not  forwarded  to  his  friends,  and  was  never 
heard  of  again.  If  Mr.  Bellew's  statement  regarding  the  date  ^  is  correct, 
this  Harp  was  of  importance  as  a  link  ;  for  between  the  Trinity  College 
Harp  and  the  Dalway  we  have  no  specimen,  and  do  not  know  what 
change  there  may  have  been  in  the  form  of  the  instrument  during  up- 
wards of  two  centuries.  Perhaps  this  ancient  Harp  may  be  hid  away  in 
some  lumber-room  of  a  country-house,  and  may  yet  be  brought  to  light. 

1  The  date  is  probably  incorrect.     Supposing  it  strings.     The  small  Harps,  although  the  sounding- 

to  have  been  always  strung  and  played  upon,  two  boards    have    become    curved,    appear    to    have 

hundred  and  fifty  or  three  hundred  years  would  withstood    the   tension    better   than    the    larger 

be  a  long  time  for  the  sounding-board  of  a  wire-  instruments, 
strung    Harp    to    withstand    the    tension    of    the 


110 


MUSICAL   INSTRUMENTS 


MAGENNIS   HABP 

Another  Harp,  which  had  been  made  for  Captain  Art  Magennis,  of 
the  County  Down,  about  1725,  Dr.  Petrie  (who  had  seen  and  examined 
it)  states  to  have  been  of  moderate  size,  about  four  feet  in  height,  and 
a  singularly  beautiful  instrument,  decorated  in  a  style  which,  were  it  not 
for  the  inscription  attached  to  it,  might  be  supposed  to  belong  to  an 
earlier  period.  The  inscri23tion  was  in  the  Irish  language  and  characters, 
written  upon  parchment,  and  placed  under  glass,  upon  the  sounding- 
board.     Dr.  Petrie  endeavoured  to  trace  this  Harp,  but  failed  to  do  so.' 


HARP  BY  JOHN  KELLY 

The  Harp  illustrated  in  Walker's  Irish  Bards,  and  incorrectly 
reproduced  in  Ledwich's  Antiquities  of  Ireland,  was  five  feet  in  height ; 
had  thirty-three  strings,  and  was  supposed  to  have  been  made  of  red  sal- 
low. The  engraving  represents  a  harp  with  six 
sound-holes.  The  sounding-board  terminates  in 
semicircular  curves  on  either  side  of  the  project- 
ing block.  The  fore-pillar,  which  is  curved, 
has  foliaceous  decoration,  and  is  surmounted 
by  a  carved  head  with  flowing  hair  and  beard. 
Foliaceous  decoration  similar  to  that  upon  the 
fore-pillar  appears  upon  the  harmonic  curve. 
From  an  inscription  upon  the  Harp  we  learn 
that  it  was  "made  by  John  Kelly  in  1726." 
The  drawing  from  which  the  engraving  was 
made  was  by  William  Ousley,  Esq.,  of 
Limerick ;  and  the  Harp  in  Walker's  time 
(1786)  was  in  the  possession  of  Mr.  Jonathan 
Hehir  of  that  city."  Petrie  was  unable  to 
state  who  the  possessor  of  this  instru- 
ment was  when  he  prepared  his  notices  of 
Irish  Harps,  and  nothing  is  known  by  the  writer  concerning  it. 


'  O'Curry's  Lectures,  vol.  iii.  p.  296.  Near  the 
old  church  of  Clonduff,  County  Down,  there  is 
a  monumental  stone,  with  arms,  in  memory  of 
Captain  Arthur  Magenis  of  Cabrah,  who  died  in 
1737,  and   hia  wife,  Catherin  Magenis,  aliat  Hall, 


who    had    predeceased    him     in    1713.  —  Ulster 
Journal  of  Archajology,  January  1901,  p.  03. 

-  Walker's  Irish  Bards,  additional  notes,  pp. 
1-163.  Petrie  ia  O'Curry's  Lectures,  vol.  iii. 
p.  295. 


THE    lEISH   HAEP 


111 


HARP  OF  ARTHUR  O  NEILL 


The  Harp  which  belonged  to  this  noted  performer  is  not  known  to 
be  extant,  but  a  drawing  representing  him  in  the  act  of  playing  was 
engraved  in  outline  for  Bunting's  collection  1809,  and  is  here 
reproduced. 

It  is  difficult  from  so  small  an  illustration  to  come  to  any  definite 
conclusion  as  to  the  formation  of  the  instrument,  but  the  box  may 
certainly  have  been  constructed  out  of  several  pieces.  For  instance, 
the  side  shown  is  not  so  deep  at  the 
upper  extremity  as  it  is  at  the  lower 
termination,  where,  it  may  be  remarked, 
it  is  shaped  so  as  to  form  a  stand. 
Supposing  the  engraving  to  correctly 
represent  O'Neill's  Harp,  the  box  re- 
sembles that  of  the  South  Kensington 
specimen,  but  in  the  engraving  no  block 
appears  into  which  the  fore-pillar  is 
inserted.  The  junction  of  the  fore- 
pillar  and  the  sounding-board  is  some- 
what similar  to  that  already  shown 
upon  the  Hollybrook  Harp.  The  fore- 
pillar  is  curved,  and  at  the  upper 
extremity  is  bent  backwards  and  ter- 
minates in  a  scroll.  The  junction  of 
the  fore-pillar  and  the  harmonic  curve 

is  not  indicated,  nor  are  the  bands  through  which  the  tuning-pegs 
pass  ;  but  the  pegs,  of  which  there  are  thirty-four,  take  the  line  of  a 
single  curve.  The  sounding-board  has  no  sound-holes,  but  there  is  a 
string-band,  and  thirty-three  strings  are  shown. 

It  is  clear  that  the  Harp  in  the  Victoria  and  Albert  Museum  is  not 
the  instrument  represented  in  the  engraving.  The  writer  understands 
that  there  is  a  larger  engraving  of  O'Neill  and  his  Harp,  and  that  the 
instrument  represented  has  the  scroll  termination  to  the  fore-pillar. 
There  is  a  tradition  that  a  favourite  harp  of  O'Neill  was  destroyed 
when    the    house    of  the    O'Neills    of  Glenarb    was    burned ;    if   that 


112  MUSICAL    INSTEUMENTS 

is  so,  a  new  Harp  would  have  been  required,  which  may  account  for 
O'Neill  being  represented  as  playing  upon  what  must  have  been  a 
comparatively  modern  instrument.  A  small  and  reversed  engraving 
of  O'Neill  may  be  seen  in  Bunting's  collection  of  1840,  but  for  some 
unknown  reason  the  engraver  represented  a  kind  of  composite  Harp, 
the  junction  of  the  fore-pillar  and  harmonic  curve  being  of  the  ancient 
form,  and  that  of  the  fore-pillar  and  box  being  modern. 

In  the  Ulster  Journal  of  Archaeology  for  January  1901  there  is  an 
etching  representing  Arthur  O'Neill  playing  upon  a  Harp.  This  illus- 
tration has  been  reproduced  in  the  Irish  Rosary  for  June  1901,  and 
the  writer  thinks  it  desirable  that  it  should  be  noticed. 

The  etcher's  representation  of  the  harper  is  good,  but  it  is  not  stated 
what  engraving  he  had  before  him  when  the  plate  was  executed.  It 
may,  however,  be  remarked  that  the  illustration  is  presumably  a  copy 
of  a  copy,  and  the  etcher  may  not  be  responsible  for  certain  errors  which 
appear  upon  that  portion  of  the  plate  where  the  Harp  is  represented.  It 
may  also  be  noticed  that  the  Harp  at  the  period  had  usually  thirty  strings, 
and  Arthur  O'Neill  is  not  likely  to  have  possessed  an  instrument  with 
only  twenty-six  strings,  also  that  he  could  not  have  played  upon  a  Harp 
with  twenty-six  strained  strings  and  only  twenty-five  tuning-pegs.  The 
etching  shows  no  wooden  or  metal  string-band  upon  the  sounding-board, 
and  no  "  shoes  of  the  strings "  are  indicated ;  further,  the  metal  band 
through  which  the  tuning-pegs  pass  is  not  likely  to  be  correctly  repre- 
sented at  the  bass  termination.  It  may  also  be  remarked  that  if  the 
line  of  the  back  of  the  Harp  and  that  of  the  right  side  of  the  sounding- 
board  are  continued  the  box  of  the  Harp  will  be  found  to  have  a  most 
unusual  depth  at  the  lower  termination. 

It  must  be  undex'stood  that  when  the  writer  points  out  what  appear 
to  him  to  be  defects,  that  these  may  have  been  represented  upon  the 
illustration  the  etcher  had  before  him  and  have  been  faithfully  copied  by 
him,  but  when  noticing  an  illustration  of  a  Harp  which  as  far  as  we  know 
is  not  extant,  it  is  desirable  that  such  portions  of  the  work  as  are 
apparently  inaccurate  should  be  pointed  out.  The  drawing  of  the  small 
outline  engraving  (reproduced)  is  fairly  good.  The  statement  that  the 
Harp  in  the  Belfast  Museum  belonged  to  Arthur  O'Neill  has  already 
been  noticed,  pp.  86-88,  and  it  is  unnecessary  to  refer  to  it  here. 


THE    lEISH    HARP  113 

Arthur  O'Neill  was  born  at  Drumnaslad  near  Dungannon  in  the 
County  of  Tyrone  in  1734.  He  lost  his  sight  by  an  accident  when  two 
years  of  age,  and  studied  under  Owen  Keenan,  a  harper  of  note,  and 
also  under  his  distinguished  namesake,  Hugh  O'Neill.  At  the  age  of 
fifteen  he  began  to  play  as  a  professional,  and  when  nineteen  he  had 
travelled  through  the  four  provinces  and  made  the  acquaintance  of 
the  chief  families  of  Irish  and  English  descent.  Upon  the  establishment 
of  the  Belfast  Harp  Society  in  1807  he  was  unanimously  elected  as  the 
resident  master.  His  memoirs,  written  by  Bunting  from  dictation,  were 
largely  used  by  that  writer,  but  are  not  known  to  be  extant.  O'Neill 
was  proud  of  his  descent,  and  had  the  right  hand,  the  crest  of  his  clan, 
engraved  upon  his  coat  buttons.  Hardiman  states  that  he  always 
expected  and  received  an  extraordinary  degree  of  attention  on  account  of 
the  antiquity  and  respectability  of  his  tribe.  He  generally  sat  at  table 
with  the  gentlemen  he  visited,  and  once  at  a  public  dinner  at  Belfast 

when  Lord presided,  his  lordship  made  a  kind  of  apology  to  O'Neill, 

and  expressed  regret  at  his  being  seated  so  low  at  the  board.  "  Oh  !  my 
lord,"  answered  the  harper,  "  apology  is  quite  unnecessary,  for  wherever 
an  O'Neill  sits,  there  is  the  head  of  the  table."  ^ 

After  the  collapse  of  the  Harp  Society,  O'Neill  retired  to  his  native 
country,"  and  died  at  Maydown  in  the  County  of  Armagh  late  in  October 
or  early  in  November  1816.  A  notice  in  the  Belfast  News-Letter  states 
that  he  was  ninety  years  of  age,  also  that  "  his  performance  upon  the  Harp 
was  unrivalled,  and  that  he  adhered  tenaciously  to  the  genuine  style  and 
simple  taste  of  the  Irish  musical  compositions,  rejecting  with  disdain  the 
corrupt  ornament  with  which  it  has  been  loaded  by  modern  performers." 
O'Neill  was  buried  at  Eglish  near  Dungannon,  but  there  is  no  stone  to 
mark  the  spot.^ 

CASTLE  CALDWELL   HARP 

During  October  1834  Dr.  O'Donovan  visited  Castle  Caldwell,  Fer- 
managh, where    he  examined   and  prepared  a  short  Catalogue  of  the 

1  Irish  Minstrelsy,  vol.  ii.  note,  p.  412,  of  Ireland,  vol.  ii.  p.  459,  which  was  most  probably 

2  Bunting,  coll.  1840.  taken  from  the  Belfast  News-Letter.      Bunting's 
2  Ulster  Journal  of  Archaeology,  January  1901.       statement  that  he  died  in  181S  is  evidently  in- 

A  notice  also  appears  in  Richard  Ryan's  Worthies       correct. — Coll.  1840,  pp.  80,  81. 


114  MUSICAL   INSTEUMENTS 

Irish  Antiquities  then  in  the  Museum.  In  this  catalogue,  under  the 
heading  No.  4,  we  find,  "  The  Harp  of  an  old  minstrel  of  the  name  of 
O'Neill,  famous  in  Ulster  before  the  time  of  Carolan  :  it  is  4  feet  5  inches 
high,  and  of  a  very  graceful  shape  :  it  had  32  strings."^ 

We  next  hear  of  this  Harp  in  1852,  when  it  and  other  objects  of 
interest  were  exhibited  by  J.  C.  Bloomfield,  Esq.,  of  Castle  Caldwell,  and 
formed  part  of  the  large  and  important  collection  of  antiquities  which 
were  on  view  in  Belfast  during  the  autumn  of  that  year ;  and  in  the 
Descriptive  Catalogue,  p.  44,  it  is  noticed  as  "the  Harp  of  the  O'Neills."'^ 
The  writer  has  endeavoured  to  trace  this  Harp,  but  without  success. 
The  Castle  Caldwell  collection  of  antiquities  was  disposed  of  many 
years  since,  and  the  Harp  may  have  been  parted  with  at  the  same  time.^ 

This  terminates  the  list,  as  far  as  the  writer  is  aware,  of  such  Harps 
as  are  known  to  be  preserved  or  are  missing.  It  ia  singularly  meagre. 
The  loss  of  all  but  three  of  the  splendidly  decorated  instruments 
constructed  during  the  early  portion  of  the  seventeenth  century  or  prior 
to  that  period  may  to  a  large  extent  have  been  caused  by  bands  of 
barbarous  marauders  *  who,  Dr.  Lynch  tells  us,  in  many  places  vented 
their  vandal  fury  on  every  harp  which  they  met  with  and  broke  it  to 
pieces — but  later  on  harps  were  again  made  and  were  numerous,  for  we 
know  from  Hempson  that  at  the  commencement  of  the  eighteenth  century 
"  women  as  well  as  men  were  taught  the  Irish  Harp  in  the  best  families, 
and  every  old  Irish  family  had  harps  in  plenty."  *  Also  from  O'Halloran 
that  "  in  every  house  was  one  or  two  harps,  free  to  travellers,  who  were 
the  more  caressed  the  more  they  excelled  in  music."  Crofton  Croker 
states  that  during  the  same  period  almost  every  one  played  on  the  Irish 
Harp,  that  is,  the  accomplishment  was  as  common  as  pianoforte  playing 
during  the  early  portion  of  the  following  century." 

•  Ordnance    Survey    MSS.    of   Ireland.      Fer-  late  Mr.  J.  C.  Bloomfield  recollect  the  Harp  as 

managh  Letters,  Royal  Irish  Academy  Library.  part  of  the  Castle  Caldwell  collection,  but  do  not 

-  It  is  clear  that  this  is  not  the  O'Neill  Harp,  know  its  previous  history.     The  collection  appears 

now  the  property  of  the  Royal   Irish  Academy,  to  have  been  removed   to  Dublin,  where  it  was 

already  noticed  (see  p.  82),  as  that  Harp,  part  of  probably  disposed  of. — Communicated  by  Hugh 

Major  Sirr's  Collection,  was  disposed  of  in  1841.  Allingham,  Esq.,  of  Ballyshannon. 

3  Communicated  by  Thomas  Pluukett,  Esq.,  of  i  ^,Y^om  Dr.   Lynoh's  editor  supposes  to  have 

EnniskiUen.     Mr.  Plunkett  visited  the  late  Mr.  been  Cromwell's  soldiers. 
Bloomfield  on   several  occasions,  but  never  heard 

him  mention  "  the  Harp  of  the  O'Neills."      The  '  Bunting,  coll.  1S4U,  p.  74. 

writer  understands  that  the  near  relatives  of  the  ^  Kerry  Pastoral,  p.  16. 


Front  a  ^auitt/ig  {?i  eAr  J^ofse/szon  ofAirMardiman.Atttho?-  of  t/te  History  o/c^^/uriv. 


J'JIci?-t\'n.  Sculp*  Z)u6/tn 


AIE   D  Zj  A  If. 

Tlie    C  el  e  b  r  a.t  e  d    Irish.  JB  ard, 

LORE   Lieutenant   oi'    Ireland  &.-.  *<■ 


rtdk'/ict/  as  r/ifj.t  tiire^ts  Ar<n'  r/s.  Miil.liyMr.Trhi,  54  ^-''ivm'r/ft.'iid  l^iMy  DabUt 


.Jh/m  J/ff/  'IV 


THE   lEISH   HAEP  115 

The  ravages  of  wood- worms,  the  carelessness  ot  servants,  and  the 
destruction  of  property  during  the  disturbances  of  1798,  followed  by 
the  sale  of  estates  and  the  breaking-up  of  homes  after  the  disastrous 
years  of  1846-47  and  '48,  would  account  for  the  disappearance  of  many, 
but  it  is  to  be  hoped  that  some  of  real  interest  may  still  be  preserved, 
and  may  be  brought  to  light. 

SPECIMENS  KNOWN  TO  HAVE  BEEN  DESTEOYED 
CAROLvysr's  harp 

Regarding  this  Harp  we  have  two  distinct  statements  :  one  that 
Cardan's  son  carried  it  with  him  to  Loudon,'  the  other  that  it  had  been 
preserved  by  the  MacDermot  Roe  at  Alderford,  Roscommon,  and  that  it 
had  been  burned  by  the  servants  of  the  house."  Of  these  statements 
there  can  be  no  doubt  that  the  latter  is  correct,  as  the  present 
MacDermot  Roe  has  obligingly  informed  the  writer  that  he  had  heard 
from  a  lady,  a  near  relative,^  that  when  on  a  visit  to  Alderford  early  in 
life  she  had  been  shown  the  charred  remains  of  a  Harp  which  was  said 
to  have  belonged  to  Carolan.* 

In  1720  a  portrait  of  Carolan  was  painted  for  the  Very  Rev.  Charles 
Massey,  Dean  of  Limerick.  This  portrait  was  supposed  by  Dr.  Petrie  to 
have  been  by  Johann  Van  Der  Hagen,  a  distinguished  Dutch  artist  who 
visited  Ireland  about  that  period.  The  portrait  was  painted  upon 
copper  about  eight  inches  by  six  inches,  and  was  preserved  in  the  Massey 
family  until  the  death  of  General  Massey  at  Paris  in  1780,  when  it  was 
brought  back  to  Ireland.  In  1809  it  was  sold  to  Walter  Cox,  who 
presented  it  to  Thomas  Finn  of  Carlo w.^  In  1840  it  was  in  the  possession 
of  the  late  Sir  Henry  Marsh,  Bart.'^     It  cannot  now  be  traced. 

During  the  time  it  was  in  the  possession  of  Mr.  Finn,  James  Hardrman 
states  that  he   had  an  accurate  copy  made  of  it.     The  copy,  not  the 

'  Walker,  Appendix,  p.  98.  be  traced.    The  writer,  by  giving  publicity  to  this 

-  Dr.    Petrie   in    O'Curry's    Lectures,   vol.    iii.  fact,  hopes  that  at  some  time  it  maybe  restored 

p.  297.  to  its  proper  owner.     Cardan's  chair,  which  is  in 

^  The  late  Madam  De  Mamiel.  good  preservation,  is  the  only  relic  of  the  minstrel 

'  Carolan's  silver  punch-bowl,  upon  which  his  now  at  Alderford.      The  writer  has  to  thank  the 

name  was  engraved,  was  also  preserved  at  Alder-  present  MacDermot  Roe  for  these  particulars. 

ford.     It  disappeared  suddenly  many  years  since,  ^  Hardiman's  Irish  Minstrelsy,  vol.  i.  p.  Ixi. 

and  although  every  i  nauiry  was  made  it  could  not  ^  Bunting's  coll.  1840,  p.  72. 


116  MUSICAL   INSTRUMENTS 

original,  was  engraved  in  1822  by  John  Martyn  and  again  about  1830  by 
J.  Rogers.  In  1840  Bunting  published  a  very  small  wood  engraving 
which  he  stated  was  from  the  original  picture.  All  these  engravings 
show  a  portion  of  Cardan's  Harp.  The  original  artist  was  probably  not 
familiar  with  the  Irish  Harp,  and  either  he  or  the  copyist  blundered,  and 
it  appears  that  either  one  or  other  of  the  engravers  blundered  also.  That 
being  so,  it  is  difficult  to  arrive  at  a  satisfactory  conclusion  as  to  the 
construction  of  the  instrument.  The  three  engravings  represent  the 
strings  as  they  certainly  could  not  have  been  upon  the  Harp,  and 
the  engravings  differ  as  to  the  number  of  the  strings.  The  two  large 
engravings  show  the  same  form  of  box,  while  upon  the  woodcut  much 
more  of  the  sounding-board  is  visible.  At  first  sight  the  box  would  appear 
to  have  been  constructed  of  several  pieces,  but  as  the  Harp  was  probably 
the  one  Carolan  possessed  in  1691  when  he  began  to  visit  country 
houses,  it  may  not  have  been  so  formed.  The  Harp  already  noticed  as 
number  2  in  the  collection  of  the  Royal  Irish  Academy  has  the  harmonic 
curve  sunk  in  the  centre  of  the  upper  portion  of  the  box,  and  the 
Bunworth  Harp  is  constructed  in  a  similar  manner,  so  the  artist  may 
have  meant  to  represent  this  peculiarity.^  The  Bunworth  instrument 
has  the  harmonic  curve  springing  from  the  box  at  almost  a  right  angle, 
and  it  continues  as  a  straight  line  for  some  distance.  This  peculiarity 
is  very  distinctly  represented  in  the  large  engravings  of  Carolan. 

Both  Walker  and  Bunting  state  that  Carolan  was  not  a  remarkable 
Harp  player.  This  is  not  surprising,  as  we  learn  from  Hardiman  that 
he  did  not  begin  to  play  the  instrument  until  he  was  seventeen ;  but 
although  not  a  noted  performer,'  he  was  not  only  a  distinguished 
composer,  but  a  poet  and  singer  of  some  note.  Many  of  his  songs,  and 
also  the  melodies  he  composed  and  to  which  they  were  sung,  have  been 
preserved,  but  numbers  have  unfortunately  been  lost.  That  his  music 
was  extremely  popular  during  the  eighteenth  century  is  undoubted. 
One  harper  who  performed  at  Belfast  in  1792  and  had  never  been  in  his 
company,  or  been  taught  by  any  one  who  had  had  an  opportunity  of 
imitating  him,  had  acquired  upwards  of  one  hundred  of  his  melodies, 
which  he  then  asserted  constituted  an  inconsiderable  portion  of  them.^ 

1  See  also  the  John  Kelly  Harp  (p.  110).  '  Bunting,  coll.  1796,  p.  3. 

''  Walker,  Appendix,  p.  69. 


THE   lEISH    HAEP  117 

Bunting  states  that  Carolan  did  not  teach  the  Harp  to  any  one  except 
his  son,  who  had  no  musical  genius,  and  that,  as  far  as  was  known,  none 
of  his  compositions  were  committed  to  writing  until  several  years  after 
his  death,  and  it  appeared  possible  that  nine-tenths  of  the  whole  had 
been  irreparably  lost.' 

Thurlough  O'Carolan  was  born  at  Nobber,  Westmeath,  in  1670,  and 
died  at  Alderford  House,  Roscommon,  on  the  25th  March  1738.  The 
wake,  which  lasted  for  four  days,  was  attended  by  an  immense  concourse 
of  people,  and  the  Harp,  which  was  in  general  use  at  the  period,  "  was 
heard  in  every  direction." "  Carolan,  the  last  composer  who  wrote  for 
the  Irish  Harp,  was  interred  near  the  church  of  Kilronan.  All  that  is 
known  about  him  has  been  noticed  by  Walker,  Bunting,  Hardiman,  and 
Conran,  so  it  is  unnecessary  to  repeat  the  statements  made  by  these 
writers. 

In  1784  it  was  proposed  that  a  concert  should  be  held  in  the 
Rotunda,  Dubhn,  in  commemoration  of  Carolan,^  and  although  the 
suggestion  was  not  then  followed  up,  a  musical  commemoration  was  held 
in  the  Rotunda  in  1809,  when  the  programme  mainly  consisted  of  the 
minstrel's  most  popular  pieces,  and  so  many  were  desirous  of  being 
present,  that  it  was  found  necessary  to  repeat  the  concert  within  the 
week.*  Carolan  is  stated  to  have  had  one  son,  who  taught  the  Irish 
Harp  in  London,  and  who,  before  his  departure,  published  by  subscrip- 
tion in  1747  a  collection  of  his  father's  melodies,  omitting  some  of  the 
best  pieces.  This  collection  without  the  preface  was  republished  by 
John  Lee  in  1780^  and  another  edition,  but  not  from  the  same  plates, 
was  published  by  Hume,  34  College  Green,  about  1810,  and  a  fourth 
by  Broderip  and  Wilkinson.*  Many  of  Carolan's  best  pieces  may  be 
found  in  Ancient  Music  of  Ireland,  by  Edward  Bunting,  colls.  1796, 
1809,  1840. 

'  Hardiman  states  that  he  is  supposed  to  have  after  the   priest   ended    it,    he    sang    a^ain,   and 

composed  upwards  of  two  hundred  musical  pieces,  played  a  piece  which  he  denominated  the  Eesur- 

vol.  i.   p.  Ivi.      From  Walker  Ave  learn  that  he  rection.      His  enthusiasm  of  devotion  affected  the 

composed  several  pieces  of  sacred   music,   which  whole  congregation.''     Walker,  Appendix,  p.  91. 
were  deemed  excellent.       "On  Easter-day  (says  -  Hardiman's  Irish  Minstrelsy,  vol.  i.  p.  Ixv. 

Mr.  O'Conor)  I  heard  him  play  his  composition  ^  Walker,  Appendix,  p.  66. 

at  Mass."     He  called  the  piece  Gloria  in  Excelsis  *  Hardiman,  vol.  i.  p.  Ixviii. 

Deo,  and  he  sang  that  hymn  in  Irish  verses  as  he  °  Walker,  Appendix,  p.  US. 

played.     At  the  Lord's  Prayer  he  stopped;  and  '■  Catalogue  of  Musical  Loan  Exhibition,  1899. 


118  MUSICAL   INSTRUMENTS 


THE   BUNWORTH   COLLECTION 

The  Kev.  Charles  Bunworth  of  Baltdaniel,  County  Cork,  and  Rector 
of  Buttevant,  whose  Harp  has  ah-eady  been  noticed,  was  most  kind  and 
hospitable  to  the  harpers  who  went  the  round  of  country  houses  during 
the  middle  of  the  eighteenth  century.  One  by  one  these  minstrels  died 
off,  leaving  to  their  old  friend  and  entertainer  the  Harps  they  had  played 
upon  for  so  long,  and  at  the  time  of  Mr.  Bunworth's  death  about  1770 
there  were  fifteen  of  these  Harps  deposited  in  the  loft  of  the  granary. 
Unfortunately  the  family  removed  to  Cork  for  a  temporary  change,  and 
before  their  return  the  whole  of  the  fifteen  Harps,  no  doubt  many  of 
them  extremely  interesting  and  valuable  specimens,  were  broken  up  for 
firewood  by  the  servant  who  had  been  left  in  charge  of  the  house  ;  ^  so,  by 
the  stupidity  of  one  individual  more  genuine  Irish  Harps  were  destroyed 
than  are  now  known  to  be  extant !  Mr.  Bunworth,  besides  being  a 
fine  performer  upon  the  Harp,  had  an  extensive  knowledge  of  Irish  music. 
He  is  not  known  to  have  left  notes  of  the  Harp  music  with  which  he 
was  so  familiar,  but  if  any  such  collection  was  made  by  him  it  would 
be  most  valuable  now. 


THE  LIMERICK  HARP 

One  of  the  most  valuable  of  the  Harps  extant  at  the  commencement 
of  the  nineteenth  century  was  found  about  1805  in  the  bog  of  Drawling 
near  Limerick,  upon  the  property  of  Sir  Richard  Harte.  It  was,  when 
discovered,  twelve  feet  under  the  surface,  was  made  of  red  sallow, 
and  had  three  brass  strings  and  several  tuning-pegs  attached  to  it. 
It  was  about  thirty  inches  long  and  ten  broad,  and  was  totally  different 
in  construction  from  the  instrument  in  use  at  the  commencement  of  the 
nineteenth  century,  so  it  probably  resembled  the  Trinity  College  Harp. 
From  Sir  Richard  Harte  it  passed  to  Dr.  O'HaUoran,  on  whose  death 
it  was  thrown  into  a  lumber-room,  from  whence  it  was  removed  by 
a  servant  and  used  as  firewood.^ 

1  The  Worthies  of  Ireland,  Charles  Ryan,  p.  '  Bunting,  coll.  1809,  note,  p.  26  ;  coll.  1840, 

228  ;  Crcker's  Fairy  Legends,  Edn.  1828,  pji.  189,       note,  p.  20. 
199. 


THE    IRISH    HARP  119 

Dr.  Petrie  supposed  this  Harp  to  have  been  not  less  than  one 
thousand  years  old,  but  this  supposition  was  grounded  solely  upon 
the  fact  of  its  having  been  found  twelve  spits  or  spadings  below  the 
surface.^  In  an  interesting  paper,  the  late  Sir  Robert  Christison,  Bart., 
when  referring  to  the  causes  and  sometimes  comparatively  rapid  growth 
of  peat-bogs,  and  the  unwisdom  of  accepting  the  depth  at  which  objects 
of  interest  may  be  found  as  evidence  of  great  antiquity,  remarks  :  "  There 
ought  therefore  to  be  an  end  for  the  present  to  all  inferences  of  extreme 
antiquity  for  objects  of  human  workmanship,  merely  because  found 
at  the  bottom  of  peat-mosses  previously  undisturbed.  It  would  probably 
indeed  be,  in  most  instances,  safer  to  say  that  the  antiquity  of  such 
objects  gives  some  insight  into  the  age  of  the  superincumbent  peat, 
than  that  any  peat-field  presents  in  itself  any  such  characters  of  age  as 
will  prove  antiquity  in  the  objects  found  under  it." "  As  no  critical 
examination  by  competent  persons  was  made  of  the  Limerick  Harp, 
and  no  drawing  preserved,  it  is  not  safe  to  accept  the  age  ascribed 
by  Dr.  Petrie  to  this  most  interesting  find.  But  if  we  cannot  accept 
the  conclusion  that  kindly  Irishman  and  distinguished  antiquary  arrived 
at,  we  may,  as  he  did,  "  stiU  indulge  the  hope  that  the  bogs,  which  have 
preserved  for  us  so  many  interesting  remains,  may  still  conserve  and 
present  to  us  a  specimen  "  of  the  ancient  Irish  Harp.' 


ADDENDA 

The  follo\\niig  interesting  note,  which  appeared  during  1806  in  The  Wild  Irish  Girl  by 
Sydney  Owenson  (afterwards  Lady  Morgan),  has  recently  come  to  the  writer's  notice : — 

"As  the  modern  Irish  Harp  is  described  in  a  letter  I  have  just  received  from  a  very 
eminent  modern  Irish  bard,  ]\Ir.  O'Neil,  I  beg  leave  to  quote  the  passage  which  relates  to 
it : — '  My  harp  has  thirty-six  strings  of  four  kinds  of  vnre,  increasing  in  strength  from 

•  O'Curry's  Lectures,  vol.  iii.  p.  291.  held  upon  the  8th  July  1863,  a  photograph  of  a 

^  Proceedings  of  the  Society  of  Antiquaries  of  portion  of  an  ancient  Irish  Harp  was  exhibited  by 

Scotland,  1880-81,  p.  170.  Arthur    Gerald    Geoghegan,    Esq.,    Londonderry. 

'  A  fragment  which   seems   to  have  been  the  The  Harp  is  stated   to   have   been  found  at  the 

harmonic  curve  of  a  very  small  Harj)  has  recently  bottom   of  a  bog  at   Taughboyne,   Co.   Donegal, 

been  found  in  the  Cannogue  of  Carncoagh,  County  The  woodwork  crumbled  to  dust,  but  a  fragment 

Antrim,   and  is  illustrated  in  the  Journal  of  the  shown  by  the  photograph,  and  described  by  Mr. 

Royal    Society    of   Antiquaries   of  Ireland,    30th  Geoghegan  as   "the  iron  framework  of  the  Clair- 

June    1897,    p.    114.       The    fragment    is    1.'5   in.  seach,"  was  then  in  his  possession.      The  writer  is 

long  and  1|  in.  broad,  and  has  13  peg-holes.      At  indebted  to  W.  J.    Browne,    Esq.,   Londonderry, 

a  meeting  of  the  Kilkenny  Archaeological  Society,  for  endeavouring  to  trace  this  fragment. 


120  MUSICAL    INSTKUMENTS 

treble  to  bass :  your  method  of  tuning  yours  ^  (by  octaves  and  fifths)  is  perfectly  correct ; 
but  a  change  of  key,  or  half  tones,  can  only  be  effected  by  the  tuning-hammer.  I  remem- 
ber in  this  neighbourhood  fifteen  ladies  proficients  on  the  Irish  Harp ;  two  in  particular 
excelled,  a  Mrs.  Bailly  and  a  Mrs.  Hermar ;  ^  but  all  are  now  dead ;  so  is  Rose  Mooney  (a 
professional  bardess),  who  was  likewise  celebrated.  Fanning  I  knew,  and  thought  well  of 
his  performance.' " 

This  letter  would  be  most  valuable  had  O'Neil  mentioned  the  notes  to  which  he  tuned 
the  thirty-six  strings,  and  also  the  number  of  steel  strings  which  were  upon  his  harp. 
The  Belfast  Museum  instrument,  which  has  thirty-six  tuning-pegs,  as  already  stated,  was 
apparently  the  property  of  "Edu  Lindse  "  in  1804,^  and  consequently  is  not  likely  to  be 
the  instrument  possessed  by  O'Neil  in  1806. 

MUSIC 

The  scale  and  tuning  of  the  Irish  Harp  with  thirty  strings  during  the 
eighteenth  century  will  be  found  upon  p.  38,  from  which  it  appears  there 
was  no  F  in  the  lower  bass  when  the  instrument  was  tuned  in  the 
natural  key  called  "  Leath  Glass"  (the  key  of  G),  but  when  the  in- 
strument was  to  be  tuned  to  the  Falling  string  or  high  bass  key  called 
"  Teadleaguidhe  "  (the  key  of  C),  the  harper  could,  if  the  melody  required 
it,  tune  the  E  string  in  the  lower  bass  to  F,  the  sharp  F's  throughout  the 
instrument  being  lowered  a  semitone.  It  appears  from  this,  that  M'hen 
the  sharp  F's  were  used,  there  was  no  F  in  the  lower  bass,  and  when  the 
sharp  F's  were  lowered  a  semitone  there  might  be  either  E  or  F  in  the 
lower  bass,  but  that  these  two  notes  could  not  occur  in  the  same  melody, 
also  that  there  could  not  be  an  accidental  in  either  treble  or  bass. 

The  writer  has  examined  several  collections  of  harmonised  Irish  music, 
and  in  all  of  these  impossible  harp  notes  occur  more  or  less  frequently.  As 
the  melodies  in  Bunting's  three  collections  ^  were  to  a  large  extent  noted 
from  the  playing  of  harpers,  and  as  the  copyright  has  expired,  the  writer 
has  selected  from  them  and  others  some  specimens  for  illustration,  from 
which  a  few  impossible  notes  have  been  omitted.  These  melodies,  as 
harmonised,  may  not  be  true  to  their  scales,  but  as  reproduced  they 
could  be  played  upon  the  wire-strung  Irish  Harp  with  thirty  strings, 
and  that  is  of  the  first  importance. 

1  The  Harp  here  referred  to  was  purchased  by  ^  Lady  Morgan's   grandmother,  Mrs.  MacOwen 

Miss  Owensou  from  Egan  in  1S05.    She  performed  (Owenson),    whose    maiden    name    was    Sydney 

upon  it  in  Lady   Cork's  drawing-room  in   1806.  Crnftou  Bell,  also  a  noted  performer,  was  known 

It  was  probably  strung  with  gut,  as  during  the  as  "  Clasagli  na  Valla,"  The  Harp  of  the  Valley, 

latter  year  she  wrote  to  Walker  and  O'Neil  for  '  See  pp.  87,  88,  111,  112. 

information    regarding    the    wire-strung    instrii-  *  Bunting's  Coll    I.  appeared  in  1796,  Coll.  II. 

ment.  in  1809,  and  Coll.  III.  in  1840. 


THE    IRISH    HARP 


121 


FE^GHAJ^"  GELEASM—or  TRY  IF  IT  IS  IJ^  TUJVE. 

An  ancient  Prelud"  for  the  Harp,  as  performed  by  Hempson.— ^'w  p.  91. 
Mad:      r=    100   Pen:  12   Inches.  BUNTING.  COLL    III. 


N9  I 


guick 

and 

Spirited 


L^AMEJrT^TIOJ^'  OF  DIERDRE  FOR  THE  SOJ^  OF  USJfE^CH. 

Mael:     r    ^    96  Pen:   14    Inches.  Very     Ancient  . 


N9   II. 

Moderately 
Quick. 


ir^i:!.!  jJ|J^:]inJi^^J3iJ.nJi.ij.Pi^ 


'^.diNj^i.di^.i^i-^^^-^ir^if.f-ii- 


A 


I  ^  '    I 


fei^ 


xc 


^3Em 


rk 


.Emg 


^ 


JJJliJJ^iJ  J^iJriJiJjj^in.q: 


I 


•    ,  >n>A ,  j;..J^  :N  ,^.^  J^  i^^^  ,^;^^  I  ^;^-^,  JT^^  ,  J^ J: 


^1 


i 


i 


i 


The  Air   repeated  to  each  Stan^a  of  the  Poem. 

Q 


y 


122 


MUSICAL    INSTRUMENTS 


IP 


A  LESSON  FOR  THE  HARP.        BUNTING,  COLL.  II. 


Vf N 


i5>. 


>>. 


^ 


J^ij~f.mi 


>> 


f^ 


It ^   -  ^^^    /^e.-f  ^^e 


^ 


^^ 


/ifrTyij  urn  irni 


to'i^'^" 


*  •  « 


W 


dim.  2> 


> 


^  r 


g%#p 


ffe^ 


■f-  4-  -^  -p- 


^ 


E=:r 


IT^Tt 


#^  >^ 


ga  fftr^TiTi^r/f^t^^Ttftftfitf^rPP 


>^ 


w^ 


r=5f 


THE    lEISH    HARP 


123 


uA.at£-.  f  =  104  _  I'cAv .  11  Wt-rjj, . 


COULIN.  BUNTING,  COLL.  IH. 

I  > 


w^ 


4 


^ 


^ 


$ 


1  A  .     ;  ^-1 


'   t 


1 


'ft.ll-J^I  J  Jg 


j",'T^i,'i':i[ILi]l 


4^^^P   t^|i-^i  U\l^{  U\t'(  \J\^^^ 

fifrf;if;fi/?f;fr^;ififiS^ 


m 


^^m 


> 


> 

0 


'         > 


P 


e» 


n 


^^>.^  ,  ifTrrfrifrfrnif/r^ffirrrj-c:^^ 


»  .  f  ^  *- ^ 


^ 


1^ 


^ 


-3-  > 

1  <='  ppp 


^^    I     tc 


^ 


g 


P 


17  1 


H,.t  .      r     if  ?    «    if  i^      i»     <       M  I    -rAm 


("'itli  r.-iif-^P^^ 


^ 


124 


MUSICAL    INSTEUMENTS 


SCOTT'S  LAMENTATION. 
COMPOSED  IN   1599. 

AS  PERFORMED  BY  HEMPSON,   WITH  THE  ANCIENT  ORACES,  ETC.  BUNTING,  COLL.  lU. 


i^o.A-.f  —  MO^S'f.x-.B  i 


IN  AN 
ANIMATED.  STYLE, 


M'\  fffiif-Mri 


m. 


1^   ^    ^ 


I      o   >. 


^=i 


r  #.  I* 


^ 


/Oi 


PS 


i 


i 


±:^:*3t=i^e 


t»   n^ 


i-^ 


1^ 


/r^ 


^ 


r    ^llj-l    [^i  fl  H^—    r    f   f  p-i^F'-^^^: 


^te 


rH-li-'!llii''j-JJH.'J.i 


© 


k— 1 # 


ig 


^EiS 


^rt 


►3-F--F- 


■=t--F- 


►^ 


if: 


iif: 


-^-^ 


slmver. 


fi'Wimi 


"[st  time. 


^m 


f^^fef 


l^i 


-N. 


fS 


^'iiAj.* 


i 


i 


^=F 


yi~T 


^1-F- 


^ 


U 


£=?: 


P 


w 


1    iJl    f! 


^ 


'  r^k  r  ^T^~F~'^^^t^' rl ""  r^^^^^^ 


-^__^         decreast 


*  i»i      I  r- 


►-^ 


PE 


^ 


zss 


fc 


s 


THE   IRISH    HAEP 


125 


THE  YOUNG  MAN'S  DREAM.        BONTING,  COLL.  I. 


VERY  SLOW.-^ 


fin2ii'iffliii.^ 


mil  iniM  ii[inrrrrm 


'^'H'^iJ  i  iji  rjLif  r  ij  f  II 


M 


0'P 


f       f0. 


m.\»:    f 


b^CJ'r'-J 


|ijUj-i'[njGiJiiFM.F 


m 


?.        1      i 


f  ^iT    ir 


fi:^     f 


i 


^^ 


THE  CAVALCADE  OF  THE  BOYNE.        BtTNTING,  COLL.  II 


^^ 


♦-#■ 


Vf'rvinif^n 


MAESTOSO.- 


'^g 


^ 


LQj  I ;  '\r  TL^ 


^^-p- 


1    r  - 


—  ■      ^  ^    ^  >       ^      '^   '  ^ 


.-.p.^.     .jiJimij 


J  ''•'  ^'f  r  ciu'^ 


^ 


i'rrifij^iJ^T^J-i' 


n~r~*  n    r 


^^ 


li 


126 


MUSICAL    INSTRUMENTS 


THE  DAWNING  OF  THE  DAY.      BUNTING.  COLL.  U. 


ANDANTE  ]~^ 

SOSTENDTO, 


^;"'  ji.^.NjjjiULri^irjii|X^ 


&.tr  -.if    ff-  ip, r.-,  rr.  \[T[^^J'. 


^ 


S 


^m 


^ 


^ 


r  r  M'>j 


0'  '    4  —j 


■*—4 


H     ^     f     f    ^,^ 


•^  I'l  rT-i  iL^ 


^ 


,^^JjifjirjrjT[;irJrj(rf;j 


i»-p — (► 


""Hffr^  irJ^ngriLif-rrr^irJ^J^ 


t/r  ri'r-.riffrrafOit.rt.raMiji:fri;i-iJMi 


w:;f^jr  ri^fij-;^  .ii/i/Q^iL/CfiJ":^^! 


THE  OLD  TRUAGH.      BUNTING.  COLL.  I. 


VERY  SLOW. 


'«;  s^  if 

'itU     r  1^        r    lir      r    iff,      r    U\      r\n     f 
^•^11  1 1—'  1 1-   ^=^       I  -=       I   »— » — • — 


^^ 


-\\{nmiX\'^Ym 


1^ ,    ,v  r 


4  I  O 


0  0      0    9 

If 


w^ 


r     I 


irry 


r  Ij  'I  Ln'rXfi' 


i 


f 


THE    lEISH    HARP 

GIRLS,  HAVE  YOU  SEEN  GEORGE!  BDNTING,  COLL,  I. 

ALSO    KNOWN     AS  CONNOR    MACAREAVY.      FOR   V ABLATIONS    BY  LYONS,   1700,   SEE    BUNTING,  COLL    IIL 


127 


LAKGO. 


^  ^^        <=^    ^rfr  irr-i 


'^ 


^==rE 


i 


fc:tt±==£ 


#=?^ 


±^:§=35 


-*-         -r 


i 


:i^i,Liii^iJ^ij'Jig'jiJi^ 


i^ 


a 


'Sill 


i 


^ 


?==^==a 


r  nr  rri 


»> 


^— »  I    o- 


/i.l.,^|^iTTi^.tjJji.njjji,M;i|JT^^fDirjj..iiij]ij.j'.ii 
<^^'^^fr  irr  r  If  jrir  r  ^  iruirr  ^  |.  ,  i  r  miii 


» — ^^ 


^^ 


^ 


THE  SUMMER  IS  COMING.         BUNTING,  COLL.  L 


M 


r^Mhk 


LABOO. 


gnrn  ti  Ji  i  rr  iT  rr^^^ 


-«■     -QL 


« F- 


^      -  =  =£ 


^* 


» — r 


1^ 


.0 


I* « f^  #*'^ 


w 


a 


128 


MUSICAL   INSTKUMENTS 


>\a.t£.  f  z:IOa-P,n.  lo:, 


THE  YELLOW  BLANKET.         BUNTING,  COLI,,  III. 


,f"■inl.^^^l^^:^f#^^ 


PLAINTIVE, 
BUT  NOT  SLOW. 


^f^ 


i  1 

»- 


T=r^ 


V  '  / 


FariH'?'!;^ 


N     N 


^M-fvf.|j;j.r.inhi|j|i;ij|i^.[]]iji,|  m 

g-j^^ri^i  iriJ'iJ'^||i|-]Ji|  J  II  r  I  ^i^-iPfAE>iIi  j 


,tf*),n7iJij  ^ 


T Lg  *    ^  ■ 


^^ 


^CfTVf 


<;"»?■  if.  if; 


-?     >l 


-Ci. 


I 


:i 


^ 


I    o 


m 


^ 


3: 


a 


3::^ 


^ 


k*      1^ 


LITTLE  MOLLY  0'.         BUNTING,  COLL.  III. 


ALit:^r /0<?-(Pm../2; 


D1STWCTLY.< 


jM  iJu^iiJluii^niijiiL^n 


'^ 


1     r 


fff  iTrr  ifiir 


^^.li  ;f 


/"rxrrriMuiijLLi:ruJ''iLr^^^ 


^^••tft1{1t1lt1^.f.1ltlf1g  1lf.1f1t  1  l^ifl^l"^^^ 


i?^ 


^ 


s    f   g 


> 


-• » — cr: 


& 


O 


THE    IRISH    HARP 


129 


v)l<udc.|'=88_ft.v--  id 


RATHER  SLOW. 


^ 


THE  BLACK  ROSEBUD.        BUNTING,  COLL   111 


f=FF 


^ *±y 


* — » k" 


'^P 


± 


s  g 


±==£: 


3=t 


?=^=^ 


ee 


g 


ini.iiini.iifiniiii^jtrLgr^^ 


(^ 


gjjjr-.  r  |<:^ 


rjiirifrrrrirjri 


i 


^ 


^fT=    P^    ^ 


*  J.  > 


ip 


^^ 


> 


^^ 


P 


£= 


^      -*- 


MOLLY  MY  TREASURE         BUNTING,  COLL.  III. 


Ao^Clf  =120_J'civ;10vn. 


RATHER  I  t^ 

SLOW,  BUT  LIVELY.  ' 


^B 


^ 


^ 


/^riJ^Ti^nHire 


^ 


^:^=^jNi  J=g 


m 


I^hI 


i 

te 


rrirlrir   ^  itJ^^ 


130 


MUSICAL    INSTEUMENTS 


THE  GROVES  OF  BLARNEY.        HOLDEN,  BOOK  I. 


f\rn\^^tiu\unJ^ 


:^ 


^^m 


f 


^ 


r     1 


•rrrir  rrrj-ir,j  i 


^ 


<j\o-a\umim^m 


^ 


'^''^rrfTir  rrrri[,.rr  ir.Mi-^  ^ifj'r  i  if  rcip 


jj^^rrrrripTrnr^qim^ni^^ 


g»rr  J  ir^r  ifr  rjif  r 


w~s 


W^ 


/^ 


ULLOGAUN. 


-T\ 


^n 


^^ 


nri^.j.n 


/On 


1 


^ — # — # 


aii  H6. 


ANDANTE        I ^ 
GRAZIOSO. 


THE  WREN.        BTJNTraO,  COLL.  11. 


I*--      f      -f- 


^^ 


^ 


# la 


:^=^t 


<y'*rni^  r-!^t 


1?^ fr 


"^  1 1 T 1  i 


ff? j?^,j^  J  J, 


^'myjjm'ji'ich 


m 


l^}^^\\\^  \H 


THE    IRISH    HARP 


131 


THE  JOLLY  PLOUGHMAN.         BUNTING,  COLL.  III. 


BRISK  AND  LIVELY.< 


(S-4  fi  -I 


^^0^4^ 


.,r^  rJl    f-Tl  r-Tl   I 


il 


i 


J      ^  =g 


*         * 


■f   M3    J3     'I'    <<^Ti    n    *l^    ^^ 


P 


^ii-tj  JN-  n^ 


^ — *- 


1^ 


'  1  C  C 1  £  i["i  D ?  1  "E  imp  u  1 1 


1  ,  '  1  1 


I  I  ( 


^tr/jr;  iiJ^J^j^E^ 


'    I 


:*^=^ 


i 


« ♦ 


^At.n.  t^.iiA\i^iiA\vu\ 


132 


MUSICAL    INSTRUMENTS 


NEW  LANGOLEE.         SURENNE. 


ANDANTE 
NON  TROPPO. 


^m 


L 
w^^ 


^-^ 


mm 


^^ 


rr 


1 


> 


-4-^ 


J^4JJi.ill|ir7rjii..illr[!l;"' 
^^~\V  ifTr  iir  |f  IF  FNii 


^ 


^^ 


^ 


\n\Ti  vnvn 


Si        !•  \  a  •         * 


feP#^ 


A 


pn;nr;zy 


s^ 


J 


wti   I  ? 


»  »T  < 


IPN^ 


^ 


^ 


MISS  MOLLY.        SURENNE. 


^ 


^ 


MODERATO. 


'^ 


m 


Pips 


v,^-: — 2  — 


r^^^^-p^^ 


r~T'    r 


^ 


Ca 


4     4 


aargj'irnn 


'^ 


^ 


=p 


^i 


i 


i     -^ 


> 


p 


#=^ 


JTjj-Ji 


'm 


Mllj  J'J 


^^ 


THE    IRISH    HARP 


133 


MOLLY  MACALPIiX.         BUNTING,  COLL.  I. 


^       f  I    ' — '  '' 


^^'Mffrirfrr    ir^jrH-l     iCffrliffrlf^ 


P 


m 


m 


'•  rj  Ji  ri  J^ 


pifirr/ritrrrifr  rn-i  ^Ji.i 


2 


JIJ^J-^J3]li^.O^ 


1^ 


i^r^nrtrirrrfTTigf^^^^ 


Tff^ 


^fF^ir^-nrffrUfr 


s* 


^ 


m 


AILEEN  AROON.        SURENNE. 


F^ 


J|J.^^|.lTJiU.s| 


P¥ 


rtr 


LENTO  P 


r. 


'ga.i-  1^'  ipTTiJTrjU  r  ^i^j  Jif  f  n  ^ 


^ 


mf. 


#1 


1355  .   . 

r— iTfj 


^ 


134 


MUSICAL    INSTRUMENTS 


KITTY  NOWLAN.        BUNTING,  COLL.  IIL 


=M.<td-.  r  =  88_J'«\\  •.  16  W . 


IN  MODERATE  TIME.<i 


-f{.,^|j>n|j>^nii,i  yjj  n 


^;  i  j:i  ^  [  .hj j-j^i,ji  J ,  J  i=^^||j^iig  I  r  I  -|^B 


'» 


[j7[2iij-^i  ^^  itji'^rj-iif^  1^^  g.ti^j^ 


^',1  '"[''4  ;^'"g"4i^''uIjVili 


'^ 


^ 


%=^ 


^ 


^fe 


^ri 


zziac 


NORA  MY  THOUSAND  TREASURES,        BUNTING,  COLL.  III. 


SLOW, 
AND  IN  A 
SINGING  MANNER 


u'  ^'liij^'^ji^rrm 


n ! II'  1 

^  I  if  ^  dr^  t 

iffO^  i  II  Pi  rp^ 


^m 


^^^=^4ttr^^+-A£S^inj^ 


!^ 


i 


t! 


wry  so/<.  ,j^  ->  % 

8        ^    y-3^   ^     3        !>.        ■4-        ' I.      .>-. 

^?°^i'^  ^i-fr]   t?lii    ia 


JfT]   ;tii^  JT^i^n] 


^       IC— ^-J^ 


.^^^  - 


prg^pr^ 


THE    IRISH    HARP 

BURN'S  MARCH.  BUNTING,  COLL.  II. 


135 


MAESTOSO. 


i 


1  \'J  1 1  \*  J  J  n 


fjgr|-|,;jj-i   .;jjn  ,;ijr|i  r,jy-|  .-JJ1 


.^ 


m 


f- . ; .  f  r. .  ^ 


n;.  ^^r 


•c  ^    •■ 


r  '  ^  r  :^K 


i'^L^'p^-^^#^^ri^s^srsi 


f^ 


I T  f  Tif  f  f  fif 


.  ■■  —  t'^^  II ^t — 


E^.%r|nf|nrtf.^^>W^^4:4^ 


136 


MUSICAL    INSTRUMENTS 


li 


CAROLAN'S  CONCERTO-         BUNTING,  COLL.  I. 
I       III' 


IgSEB 


fm 


m 


s 


^^ 


'ig-r.L'^r 


^ 


i 


I'll 
f   f    f    0 


1 
-,        I    ._      ^-  t         I    _  f  J  *  *  a 


1 


^1:^ 


ii 


rr^"*  'iJ  r  ^r/Ti  =^^r'^ri  i  r  /r^ 


«y  -t  -A 


-»      r 


1^ 


* »■ 


m. 


H f 


£tf^  I  Ofl -^i£i£l 


:^ 


^ 


*  I*!*  'J.--J*  2  IJ^'J  »'    * 


'5 


3j 


g 


jci:^ — r 


£ 


'1'  "1'  '"I  ''1^  ir^^ 


±±:i 


n 


i 


^  M\^^iJX^^ 


jate 


^^P 


^ 


^   /7^.VlrV-TT 


^//i  i\\{^^n^'^iw^^ 


m 


Wr\\iiiirU\\\^\^\\j\j 


i^ 


1  H  "1  "1 


jj|jjrj:iJi|jjjj]W^^J^i^^irii'j    II 


J     I    i    .1    J     N 


23: 


^ 


THE    lEISH    HARP 


SUPPLEMENTAL 

TO  FACE  PAGE  136 

BYRNE,    AN   IRISH   HARPER 

During  the  early  forties  of  the  nineteenth  century  two  Edinburgh 
artists,  Messrs.  D.  O.  Hill  and  Robert  Adamson,  produced  from  waxed 
paper  negatives  a  number  of  portraits  by  what  was  then  known  as  the 
"calotype"  process.  A  blind  Irish  harper  who  had  for  a  considerable 
period  played  at  Edinburgh  and  throughout  Fife  was  one  of  the  sitters. 
This  harper's  name  was  Byrne,  and  at  the  time  his  portraits  were  taken, 
1843  or  1844,  he  was  about  sixty  years  of  age.  A  number  of  negatives 
of  Byrne  are  in  the  possession  of  Mr.  Andrew  Elliot  of  Princes  Street, 
Edinburgh,  and  with  his  kind  permission  one  of  them  has  been  printed 
by  the  collotype  process.  Bunting's  third  collection  appeared  in  1840, 
and  if  the  reader  turns  to  p.  11  of  that  work  he  will  find  a  description 
of  the  dress  and  conical  cap  used  by  a  harper  about  1750.  This  perhaps 
suggested  the  purely  fancy  dress  Byrne  is  represented  as  wearing.  The 
slightly  conical  head-dress,  which  appears  upon  the  ground  on  some  of 
the  negatives,  may  be  a  mediaeval  head-piece.  A  number  of  ivy  leaves 
are  upon  the  harper's  head.  Besides  portraits  of  Byrne  in  this  fancy 
dress,  there  are  others  in  a  swallow-tailed  evening  coat  and  trousers. 

The  harp  is  of  the  same  form  as  that  supplied  by  J.  Egan  to  the 
Belfast  Irish  Harp  Society,  represented  in  the  Frontispiece,  but  the  orna- 
mentation is  much  superior.  Upon  the  upper  portion  of  the  fore-pillar 
and  also  upon  the  harmonic  curve  shamrocks  are  represented,  and  there 
is  an  excellent  scroll  design  with  shamrocks  upon  either  side  of  the 
sounding-board.  There  are  thirty-seven  tuning-pegs,  but  only  thirty-two 
strings,  so  five  tuning-pegs  in  the  treble  are  without  strings.  If  the 
reader  turns  to  p.  52,  note  3,  he  will  find  the  supposed  tuning  of  Egan's 
harp  with  thirty-seven  strings.  The  absence  of  five  strings  upon  Byrne's 
harp   tends  to  show  that  the  tuning  there  given  is  correct,   as  upon 

s 


MUSICAL    INSTEUMENTS 

Byrne's  harp  the  first  treble  string  was  probably  D,  the  highest  note 
upon  Bunting's  scale.  So  the  additional  strings  in  the  treble  were  dis- 
carded, as  they  wei-e  probably  not  required  for  the  music  Byrne  played  ; 
while  the  two  additional  strings,  A  and  B  in  the  bass,  which  are  shown 
upon  the  supposed  scale,  were  retained.^ 

Besides  throwing  light  upon  the  tuning  of  the  large  Irish  Harp, 
these  portraits  of  Byrne  are  of  interest,  as  they  are  perhaps  the  only 
sun  pictures  that  were  taken  of  an  Irish  harper ;  but  although  they  are 
all  different,  the  position  of  the  hands  in  each  case  is  the  same,  i.e.  in 
none  of  the  portraits  are  the  thumbs  erect.^  If  the  reader  examines 
the  representations  of  Irish  harper's  it  will  be  seen  that  only  one, 
that  upon  the  Shrine  of  St.  Moedoc,  shows  the  thumb  in  an  erect 
position.  So  the  harpers,  whether  they  used  their  nails  or  the  fleshy 
portions  of  their  thumbs,  probably  plucked  the  strings  when  the  thumbs 
were  either  somewhat  bent,  or  in  a  more  horizontal  position  than  is  now 
usual.  If  the  Irish  harpers  held  the  thumbs  in  a  somewhat  horizontal 
position,  they  may  by  so  doing  have  to  some  extent  prevented  the 
jarring  of  the  sti-ings  ;  so  those  who  may  attempt  to  play  upon  a  wire- 
strung  harp  would  do  well  to  test  this  manner  of  playing  before  ac- 
quiring a  method  which,  although  correct  when  the  harp  is  strung  with 
gut,  may  not  be  desirable  upon  a  wire-strung  instrument. 

The  writer  does  not  know  of  any  person  who  can  give  information 
regarding  Byrne.^  He  was  probably  born  about  1784 ;  and  if  that 
date  can  be  accepted,  he  would  have  begun  to  learn  the  harp  during 
1794  or  1796,  and  have  started  as  a  professional  in  1803.  When 
the  second  Irish  Harp  Society  was  instituted  at  Belfast  in  1819,  it 
was  found  that  there  were   no  harpers  who   had  not  been  taught  by 

1  It  is  the  writer's  opinion  tliat,  in  the  event  of  fingers  upon  the  same  strings  in  both  the  treble 

a  revival  of  the  wire-strung  Irish  Harp,  Bunting's  and  the  bass.     If  the  supposed  tuning  is  correct, 

tuning  for  a   harp  with  thirty  strings  should  be  the  key  is  AJ]  minor,  which,  although  imperfect 

adhered  to  ;  and,  in  addition  to  the  thirty  strings,  upon  the  Irish  Harp,  was  used  by  the  harpers  (see 

there  should  be  three  others  in  the  treble,  and  two  p.  39).     This,   however,   may  be  unintentional,  as 

others  in  the  bass  ;  for  amongst  Irish  music  there  on  the  other  photographs  Byrne's  fingers  do  not 

may  be  quite  a  number  of  melodies,   such  as  the  appear  to  grasp  harmonious  strings  in  the  treble 

beautiful    Londonderry    Air,    restored    and    bar-  and  bass. 

monised   by  Dr.    Culwich,    which   could    only  be  ^  An  endeavour  was  made  to  obtain  informa- 

played    upon   a    harp    with  additional  strings    in  tion  regarding  Byrne,  but  the  queries  forwarded 

the  treble.  to  the    editor   of   an   Ediubiirgli   journal   do    not 

"  One  of  these  photographs  shows  the  harper's  appear  to  have  been  inserted. 


BYRNE,      A     BLIND      IRISH      HARPER. 


THE     IRISH     AND    THE      HIGHLAND     HARPS      ADDITIONAL      PLATE      TO     FACE      P.   136. 


THE    IRISH    HARP 

Arthur  O'Neill,  the  Master  of  the  first  Society,  1807-1813.  Byrne  may 
have  left  Ireland  before  1819,  and  if  taught  by  O'Neill  it  must  have 
been  before  the  fii'st  Society  was  established.  Charles  Byrne,  who 
played  at  Belfast  in  1792,  would  have  been  about  seventy  when  the 
younger  Byrne  was  born,  so  is  scarcely  likely  to  have  been  his  father. 
Six  of  the  ten  harpers  who  appeared  at  Belfast  in  1792  were  alive  during 
the  time  the  younger  Byrne  was  probably  learning  the  instrument,  so  he 
may  have  had  opportunities  of  hearing  really  good  performers.  He 
appears  to  have  carried  on  the  traditions  of  the  eighteenth-century 
harpers,  as  he  is  believed  to  have  only  played  in  pi-ivate  houses  and  at 
concerts. 


W  \J// 


SLAB  AT   ST.    KEVIN'S    "KITCHEN,"   GLENDALOCGH,  COUNTY   WICKLOW ' 


'  Tbe  ornamentation  is  incised,  and  is  similar 
in  character  to  that  which  occurs  upon  the 
Trinity  College  Harp,  plate,  p.  56,  the  harp 
represented  upon  the  stone  at  Keills,  plate,  p. 
154,    and 'the  "Queen    Mary    Harp,"    plate   vi., 


p.  176.  The  illustration  is  from  a  sketch  taken 
at  a  distance.  As  the  key  of  the  gate  had  been 
removed  to  Dublin  during  1904,  a  rubbing  could 
not  be  obtained. 


THE    HIGHLAND    HARP 

HISTORICAL   NOTICES 

The  Harp  from  a  remote  period  was  one  of  the  most  prized  of  the 
musical  instruments  in  use  in  Scotland.  The  frequent  intercourse 
between  Ireland  and  the  Western  Islands,  specially  lona,  accounts  for 
its  early  introduction  to  those  islands,  and  so  rapidly  did  the  Scots 
adopt  and  master  the  instrument  that  we  find  Giraldus  Cambrensis 
(b.  1146,  d.  121G),  remarking  that  "  Scotland,  in  consequence  of  intercourse 
and  affinity,  strives  with  rival  skill  to  emulate  Ireland  in  Music.  Ireland, 
indeed,  employs  and  delights  in  only  two  instruments,  the  Harp  and  the 
Tabor:  Scotland  in  three,  the  Harp,  Tabor,  and  Chorus."^  Further, 
"In  the  opinion  of  many  at  this  day  (1185)  Scotland  has  not  only 
equalled,  but  even  far  excels,  her  mistress,  Ireland,  in  musical  skill  ; 
wherefore  they  seek  there  also  the  fountain,  as  it  were,  of  their  art." ' 

From  John  Major,  who  published  his  Greater  Britain  in  1521,  we  learn 
that  "  for  musical  instruments  and  vocal  music  the  wild  Scots  use  the 
Harp  whose  strings  are  of  brass,  and  not  of  animal  gut ;  and  on  this  they 
make  the  most  pleasing  melody." '" 

This  writer,  when  describing  James  I.,  states  that  he  was  "a  well 
skilled  musician,  and  a  singer  second  to  none,  with  the  Harp,  like 
another  Orpheus.  He  surpassed  the  Irish  and  the  wild  Scots,  who  are 
in  that  art  pre-eminent.  It  was  in  the  time  of  his  long  captivity  in 
France  and  England  that  he  learned  these  accomplishments."'^  The 
manner  in  which  the  evening  was  passed  by  this  sovereign  shortly  before 
his  assassination  is  thus  described  :  "  So  both  afore  soper  and  long  after 
ynto  quarter  of  the  nyght  in  the  which  the  Erie  of  Athetellas  and 
Robert  Steward  were  aboute  the  Kyng  wher  thay  wer  occupied  att  the 
playing  of  the  chesse  att  the  tables,  yn  redyng  of  Romans,  yn  syngyng 

1  Giraldus.       T.    Forester    gives    for    the    last  -  Edn.  1892,  p.  50. 

mentioned,    Growth    or   Crowd. — Bond's   traus.,  ^  Ibid.,  p.  366. 

p.  127. 


140  MUSICAL   INSTEUMENTS 

and  pypyng,  yn  harpyng  and  in  other  honest  solaces  of  grete  pleasance 
and  disport."  ^ 

George  Buchanan,  whose  history  was  published  in  1582,  when 
describing  the  customs  of  the  Western  Islands,  states  that  the  inhabi- 
tants "  are  exceedingly  fond  of  music,  and  employ  harps  of  a  peculiar 
kind,  some  of  which  are  strung  with  brass,  and  some  with  catgut.  In 
playing  they  sti'ike  the  wires  either  with  a  quill,-  or  with  their  nails, 
suffered  to  grow  long  for  the  purpose  ;  but  their  grand  ambition  is  to 
adorn  their  harps  with  great  quantities  of  silver  and  gems,  those  who 
are  too  poor  to  afford  jewels  substituting  crystals  in  their  stead.  Their 
songs  are  not  inelegant,  and,  in  general,  celebrate  the  praises  of  brave 
men;  their  bards  seldom  choosing  any  other  subject."^ 

An  anonymous  writer,  who  treats  of  "  Certain  matters  concerning  the 
Realme  of  Scotland  as  they  were  a.d.  1597,"  although  he  follows 
Buchanan,  throws  some  additional  light  upon  the  instruments.  "  They 
delight  much  in  Musicke,  but  chiefly  in  Harpes  and  Clariachoes  [i.e.  Irish 
Harps]  of  their  own  fashion.  The  strings  of  their  Claischoes  are  made  of 
brasse  wyre,  and  the  strings  of  the  Harpes  of  sinews."^ 

From  the  Accounts  of  the  Lord  High  Treasurer  of  Scotland  much 
important  information  may  be  obtained  regarding  the  musical  instru- 
ments in  use  in  Scotland  during  the  reigns  of  James  iii.  and  iv.,  and  the 
manner  in  which  the  long  evenings  were  rendered  less  tedious  by  morris- 
dancers,  acrobatic  performances,  chamber  music,  etc. 

BARDS,    STORY-TELLERS,    VOCALISTS 

In  Ireland,  as  already  noticed,  outside  the  district  known  as  the 
Pale,  persons  called  Bards  were  not  recognised  as  educated  poets,  but 
were  apparently  "  common  jesters  and  rimers,"  reciters  of  poetry  not 

1  The  Death e  of  the  Kynge  of  Scotes,   p.  54.       the  Western  Islands  he  principally  follows  Donald 
— Maitland  Club.  Monro   (Archdeacon   of    the   Isles),    a   pious    and 

-  It  is  probable  that  Buchanan  meant  that  the  diligent    person    who    travelled    all    over    those 

harpers  pulled  the  strings  with  their  finger-nails  islands,   and  viewed  them  exactly.      In  Monro's 

in  the  same  manner  as  the  plectrum  was  used  for  account  of  the  Isles  there  is  nothing  relating  to 

other  instruments  strung  with  wire.     This  is  the  music  or  musical  instruments, 

writer's  opinion,  and  apparently  that  of   others,  ■•  This  passage  apparently  explains  the  dififer- 

See  Musical  Memoirs  of  Scotland  ( Dalyell),  note,  ence    between    the    two    instruments,    of   which 

P-  2.33.  frequent    notices     occur    during     the     reign     of 

2  Translation  by  James  Aikman,  vol.  i.  p.   41,  James  iv. 
Edn.  1S27     Buchanan  states  that  in  his  notice  of 


THE   HIGHLAND    HAEP  Ul 

necessarily  their  own  composition.  The  Scottish  Bards  were  probably 
the  same.^  In  both  countries,  however,  a  Bard  during  the  sixteenth 
century  may  have  been  a  minor  poet.  Martin,  in  his  Description  of  the 
Islands  of  Scotland,  states  that  the  chieftains  of  the  Isles  each  retained 
a  "  physician,  orator,  poet,  bard,  musicians,  etc.  ;""  it  is  plain,  then,  that 
poet  and  bard  were  not  synonymous  terms  in  Scotland. 

Bards  appeared  before  James  iv.  at  Balquidder,^  Edinburgh,*  and 
Inchmahome.  At  the  last-mentioned  place  "  Duncane  Campbell's  bard 
received  vl"  ^ 

Story-tellers  amused  the  King  when  the  Court  was  at  Edinburgh,'' 
also  at  Durrisdeer ; "  but  one  of  these  story-tellers,  James  Weddirspune, 
was  a  Court  fiddler,-  so  he  may  have  attended  the  King  during  his 
expeditions.     We  certainly  hear  of  him  at  Aberdeen  as  "  tale  tellair."  ^ 

There  are  a  considerable  number  of  notices  of  Singers,  both  female 
and  male,  who  entertained  the  King,  but  there  is  apparently  only  one 
instance  where  the  voice  was  accompanied  by  an  instrument."  These 
vocalists  appeared  before  the  King  at  Edinburgh,"  Stirling,"  Setoun," 
Balquidder,'^  Darnaway,^^  Dumfries,''^  Canonby,"  Lochmaben,^-  White- 
kirk,*'  Ayr,^"  Linlithgow,'*  Inverness,""  Elgin,^^  Penpont,'*  Penninghame," 
Dumbarton,-*  Biggar,^'  and  Perth. "^  One  of  these,  apparently  a  comic 
vocalist,  was  known  as  "  Wantonnes."  Upon  the  occasion  of  her  first 
appearance  (16th  February  1506-7)  the  King  was  so  pleased  that  he 
"  fechit  and  gert  hir  sing  in  the  Queues  chamir."  For  each  appearance 
upon  that  evening  she  was  separately  paid."'     We  have  no  knowledge  of 

1  "To  the  Bard   belongs   his  tongue." — Gaelic  '-  Treasurer's  Accounts,  vol.   i.    pp.  329,  330; 
Proverbs,  edited   by  Alex.  Nicolson,  Edu.  18S1,       vol.  ii.  p.  146. 

p.2b2.     "  He  is  as  fluent  as  a  Bard."— Ibid., p.356.  '^  Ibid.,  vol.  i.  p.  389. 

2  Edn.  1716,  p.  109.  h  Ibid.,  vol.  ii.  p.  120. 

3  Treasurer's  Accounts,  vol.  ii.  p.  119.  "^  Ibid.,  vol.  ii.  p.  126  ;  vol.  iii.  pp.  170,  345. 
*  Ibid.,  vol.  ii.  p.  132.                                                      w  ibid.,  vol.  ii.  p.  421. 

=  Ibid.,  vol.  iv.  p.  402.  "  Ibid.,  vol.  ii.  p.  454. 

"  Ibid.,  vol.  i.  p.  176  ;  vol.  ii.  pp.  412-472.  w  Ibid.,  vol.  ii.  p.  458  ;  vol.  iii.  pp.  130,  194. 

'  Ibid.,  vol.  iii.  p.  373.  "  Ibid.,  vol.  ii.  p.  469. 

8  Ibid.,  vol.  ii.  p.  102.  2"  Ibid.,  vol.  iii.  p.  146. 

"  Ibid.,  vol.  ii.  p.   129.  :i  Ibid.,  vol.  iii.  pp.  162,  334;   vol.  iv.  p.  342. 

"  Ibid.,  vol.  ii.  p.  120.      We  certainly  hear  on  22  xbid.,  vol.  iii.  p.  170. 

two    occasions    of    fiddlers    and   singers    (Ibid.,  -^  Ibid.,  vol.  iii.  p.  345. 

v.il.   i.   p.  330,  vol  iv.    p.   127),  but  in  neither  -4  ibid.,  vol.  iii.  p.  373. 

case   can   we    be   certain    that    the    instrument  -''  Ibid.,  vol.  iii.  p.  374. 

accompanied  the  voice.  -«  Ibid.,  vol.  iii.  pp.  383,  391. 

"Ibid.,    vol.    i.    p.    279;     vol.    iii.    pp.    196,  27  ibid.,  vol.  iii.  p.  409. 

197-198.  28  Ibid.,  vol.  iii.  p.  416.         -'  Ibid.,  p.  369. 


U2  MUSICAL   INSTEUMENTS 

her  again  singing  before  the  Queen  ;  but  a  few  weeks  later  "  Wan  tones 
and  hir  marowis  that  sang  with  hir"  were  heard  by  the  King,^  and 
during  the  following  month  they  appeared  before  him  at  Peebles,^  and 
upon  April  6th  at  Edinburgh.^ 

During  1511,  November  16th,  these  old  favourites  were  again  heard 
in  the  King's  chamber  at  Linlithgow/  Upon  December  7th^  and 
February  24th,  1511-12,^  they  were  at  Edinburgh;  and  during  1512, 
April  28th  ^  and  July  20th,'  they  were  again  at  Linlithgow. 

MUSICAL    INSTRUMENTS 

The  Accounts  of  the  Lord  High  Treasurer  commence  during  1473, 
and  as  they  are  the  only  source  of  information,  we  must  receive  what 
can  be  gleaned  from  them  regarding  Music  and  Musical  Instruments 
during  the  concluding  fifteen  years  of  the  reign  of  James  iii. 

It  may  be  accepted  that  the  King  retained  one  or  more  performers 
upon  the  lute,'*  and  as  the  best  tuition  was  to  be  obtained  abroad,  we 
know  that  one  young  minstrel,  "  the  Kingis  litle  lutare,"  was  sent  to 
Bruges  apparently  for  instruction/"  No  other  instrument  is  mentioned, 
the  ti'umpet  excepted,"  which  was  required  for  accompanying  heralds,  etc. 

From  the  early  portion  of  the  reign  of  James  iv.  musicians  received 
considerable  encouragement.  The  King  was  himself  a  performer  upon 
the  Lute  ^^  and  upon  the  Clavychordes,  and  played  upon  these  instru- 
ments either  at  Newbattle  or  Dalkeith  during  his  first  interview  with 
his  future  Queen.^^    He  was  certainly  fond  of  music,  and  we  have  frequent 

•  Treasurer's  Accounts,  vol.  iii.  p.  372.  "  Tytler,   Edn.   1864,    vol.    ii.    p.   271.      Mr. 

-  Ibid.,  vol.  iii.  p.  377.  Gunn    seems   to  have   supposed   that   the   word 

^  Ibid.,  vol.  iii.  p.  379.  uiay  have  been  incorrectly  printed,  and  may  be 

■•  Ibid.,  vol.  iv.  p.  316.  "  Clarischord "    (Gunn's    Enquiry,    note,    p.    72), 

=  Ibid.,  vol.  iv.  p.  318.  but   a  Clavichord,    although   not   so   portable   as 

"  Ibid.,  vol.  iv.  p.  332.  a    Clarscha,    might    (if    James     possessed     one) 

^  Ibid.,  vol.  iv.  p.  342.  have    been    easily    conveyed    to    Newbattle    or 

'  Ibid.,  vol.  iv.  p.  349.  Dalkeith.     It  was  besides  a  comparatively  simple 

'■'  Ibid.,  vol.  i.  pp.  59,  67,  69.  instrument,  and  any  organist  could  have  taught 

1°  Ibid.,  vol.  i.  pp.  59-60.  the  King  to  play  upon  it.     On  the  other  hand,  it 

'1  Ibid.,  vol.  i.  pp.  61-68.  is  improbable  that  the  King,  who  was  so  frequently 

'2  1496,  November  7th,  "to  Johne  Jamesoun,  upon  the  move,  could  have  performed  even  toler- 

for   a  lute   to   the   King    vj  s   viij  S. — Treasurer's  ably  upon  so  exceptionally  difficult  an  instrument 

Accounts,  vol.  i.  p.  307.     1507,  "forFranch  lut  as  the  Clarscha.      In  1502   "a  payer  of  Clavy- 

stringis,"  etc. — Ibid.,  vol.  iii.  p.  398.    A  lute  was  cordes  "  cost  £4. — Expenses  of  Elizabeth  of  York, 

purchased  in  Handera  for  the  King  which  cost  p.  41  ;  Dalyell's  Musical  Memoirs,  p.  264. 

£2,  5s.— Ibid.,  vol.  ii.  p.  445. 


THE    HIGHLAND    HAKP  143 

notices  of  Harps  and  Clarschas,  Drums,^  Organs,  Trumpets,  Pipes  or 
Shalms,  Fiddles,  Lutes,  and  Monochordis.^ 

In  1494  Pate,  a  harper,  and  four  other  musicians  are  mentioned.^ 

During  the  following  year,  1494-5,  "Jacob  Lvitare"  was  apparently 
one  of  the  household,  and  received  the  considerable  payment  of  £3,  12s.* 
The  number  of  musicians  was  gradually  increased;  and  in  1496,  April 
25th,  another  harper,  James  Mylsone,  is  mentioned.^  1497,  March  28th, 
three  harpers  and  twelve  other  musicians  were  paid.® 

Later  on  the  King,  who  had  previously  upon  several  occasions  heard 
the  Clarscha,  or  Irish  Harp,  was  apparently  pleased  with  the  perform- 
ances, for  we  find  during  1501,  December  19th,  "  Pate^  Harper  Clarscha" 
attached  to  the  household.^  During  April  of  this  year  three  harpers, 
two  Clarschas,  the  two  common  pipers  of  Edinburgh,  and  sixteen  other 
musicians,  received  gratuities.^ 

1501-2,  January  1st.  Four  harpers,  one  Clarscha,  the  two  pipers 
of  Edinburgh,  the  common  piper  of  the  Canongate,  and  twenty-three 
other  musicians,  received  payment.^" 

1502-3,  January  1st.  Four  harpers  and  twelve  other  musicians  were 
with  the  King  at  Arbroath." 

April  18th.  Three  harpers,  one  Clarscha,  and  sixteen  other  musicians 
received  gratuities ;  ^^  and  upon  October  31st  four  loud  minstrels  were 
paid  xxviii  s.^^ 

1503.  During  the  closing  month  of  this  year  we  first  hear  of  the 
four  "  Itahan  Menstralis""  who  frequently  accompanied  the  King  upon 
his  expeditions.  These  minstrels,  we  afterwards  learn,  were  pipers  ^^  or 
"  Schawmiris."^'^  They  were  well  paid,  and  had  a  servant  called  Nesbit  to 
attend  upon  them." 

'  A  pair  of  "tympanes"  were  purchased   for  find   "Pate  Sinclair,"  the  next  entry  being  "to 

the  King. — Treasurer's  Accounts,  vol.  ii.  p.  392.  the  said  Patrick." 

2  Two  of  these  instruments  were  purchased  in  *  Treasurer's  Accounts,  vol.  ii.  p.  55. 
Flanders  for  the  King,  each  costing  £2,  5s. — Ibid.,            '■'  Ibid.,  vol.  ii.  pp.  102-3. 

vol.  ii.  p.  445.     For  a  notice  of  the  monochord,  '"  Ibid.,  vol.  ii.  p.  131. 

see  Songs  of  Scotland  Without  Words,  Intn.,  p.  v.  •'  Ibid.,  vol.  ii.  p.  353. 

3  Ibid.,  vol.  i.  pp.  232-309.  '^  ibij^  y^i  n  p  357. 
1  Ibid.,    vol.    i.    p.    237.       He    is    afterwards  '^  Ibid.,  vol.  ii.  p.  404. 

frequently  mentioned.  i'  Ibid.,  vol.  ii.  p.  318. 

5  Ibid.,  vol.  i.  pp.  273-304.  is  jbid.,  vol.  iii.  pp.  96,  115,  145. 

8  Ibid.,  vol.  i.  pp.  326-7.  i"  Ibid.,  vol.   iii.    pp.    132.      Schawmiris  were 

"  Pate  is  occasionally  used  as  the  diminutive  of  pipes,  wind  instruments  similar  to  clarionets. 

Peter  and   also  Patrick.      In  vol.   ii.   p.   197  we  ''  Ibid.,  vol,  iii.  p.  138. 


144  MUSICAL   INSTRUMENTS 

The  English  nobles  who,  early  in  August  1503,  accompanied  the 
young  Queen,  brought  with  them  a  number  of  musicians.  One  named 
Bountas,  a  performer  upon  the  "  Cornut,"  ^  probably  a  novelty,  was 
apparently  appreciated,  as  he  played  in  the  Queen's  chamber,^  and 
remained  at  Court  until  the  7th  February  1503-4.^  The  Queen,  herself 
a  musician,*  had  her  own  lute-player,  John  Ca  mner,  a  highly  paid 
performer,'^  who  is  frequently  mentioned/ 

1503-4,  January  1st.  Four  harpers,  one  Clarscha,  the  common 
pipers  of  Edinburgh,  and  twenty-one  other  musicians,  were  paid.* 
In  April  a  Moor,  or  coloured  drummer,  "  More  (taubronar) "  ®  is  first 
noticed.  This  musician  invariably  accompanied  the  King.  During 
August  when  James  made  his  well-known  expedition  to  Eskdale,  he 
was  accompanied  by  James  Mylson  and  Alexander,  two  of  his  harpers,'" 
the  four  Italian  minstrels,  and  "  More  taubonar."  "  He  also  had  Organs, 
probably  Regals,  carried  with  him.'^ 

1504-5,  January  1st.  Three  harpers,  two  Clarschas,  the  two 
pipers  of  Edinburgh,  and  twenty  -  four  other  musicians,  received 
gratuities.'^ 

1505.  On  and  after  December  16th,  "four  childir  that  playis  on  the 
schalmes  "  are  first  noticed,  their  liveries  costing  £7,  8s.  3d." 

1505-6,  January  1st.  The  minstrels  who  received  payment  numbered 
forty-eight.''^  April  14th,  five  harpers,  four  Clarschas ;  two  new  arrivals, 
a  "French  quhessillar"  and  an  "  Inglis  pipar  with  the  drone,"  together 
with  thirty-four  other  minstrels,  are  mentioned."' 

1507,  August  16th.  Five  French  minstrels,  who  received  the  same 
pay  as  the  Italians,  are  first  noticed.'" 

1  Treasurer's  Accounts,  vol.  ii.  p.  312.  '"  Treasurer's  Accounts,  vol,  ii.  p.  450. 

2  Ibid.,  pp.  398,  399,  403,  412.  "  Ibid.,  vol.  ii.  p.  451. 

3  Ibid.,  p.  418.  '-  Ibid.,  vol.  ii.  p.  456. 
*  During  the    second   interview   between  the  '''  Ibid.,  vol.  ii.  p.  472. 

King  and  the  Princess,  the  former  upon  bended  '■•  Ibid.,  vol.  iii.  pp.  109-10.     The  instruments 

kuee  listened  to  her  performance. — Tytler,  Edn.  were  pipes,  and  are  supposed  to  have  been  some- 

1864,  vol.  ii.  p.  271.  thing  like  the  modern  clarionet.    1505-6,  Januarj' 

5  Treasurer's  Accounts,  vol.  iii.  pp.  123-151.  9th  :  "the   boyis  that  playis  on  the  Schawmes" 

"  £11,133.  4d.  half-yearly.— Ibid., vol.  ii.  p.  337.  received  xiiij  5.— Ibid.,  vol.  iii.  p.  179.     Again  on 

'  There  is  one   reference  to  "  the  Quenis  four  24th  February  the  same  sum. — Ibid.,  vol.  iii.  pp. 

menstrales  that  remauit  with  her."— Ibid.,  vol.  ii.  183,  199,  202,  307. 
p  337.  '*  Ibid.,  vol  iii.  i).  178. 

8  Ibid.,  vol.  ii.  p.  412.  '"  Ibid.,  vol.  iii.  p.  190. 

»  Ibid.,  vol.  ii.  p.  427.  "  Ibid.,  vol.  iii.  p.  406. 


THE    HIGHLAND    HAEP  145 

1506-7,  January  1st.  Sixty-nine  musicians  were  paid  ;  amongst  these 
were  "  Schawmeris  "  as  well  as  "  Piparis." ' 

1507-8,  January  1st.  Three  harpei's,  two  pipers  of  Edinburgh,  a 
great  company  of  minstrels,  besides  nineteen  others,  were  paid." 

1508,  April  25th.  Three  harpers,  one  Clarscha,  the  common  minstrels 
of  Edinburgh,  and  forty-five  other  musicians,  received  gratuities.^ 

1512,  March  26th.  "Foure  scolaris  menstralez  "  were  given  £21 
Scots  "  to  by  thame  instrumentis  in  Flandris,"  etc.* 

1512-13,  January  1st.  The  Italian^  and  French''  minstrels,  together 
with  the  Scottish  harpers,  trumpeters,  lute-players  and  others,  in  all 
twenty-five  musicians,  received  payment.^ 

During  March  1513,  O'Donnel,  Prince  of  Connal,  visited  the  Scottish 
Court,  then  at  Linlithgow,^  and  the  considerable  sum  of  £50,  6s.  7d.  was 
paid  for  his  expenses.**  The  costume  of  an  Irish  prince  probably  differed 
from  that  in  use  at  the  Scottish  Court,  so  before  his  departure  he  was 
presented  with  a  satin  gown,  a  russet  coat,  scarlet  hose,  and  a  doublet 
of  Crammesy  satin. ^^  His  retinue  must  have  been  considerable,  as  his 
expenses  while  in  Edinburgh  amounted  to  £40 ;  and  when  leaving, 
besides  other  presents,  he  received  £160,''  while  his  harper  (Clarscha) 
the  only  one  of  his  retinue  mentioned,  was  given  the  handsome  gratuity 
of  £7.'"  He  was  probably  a  remarkable  performer,  as  only  one  harper, 
an  Englishman,  who  may  have  accompanied  the  Queen  or  one  of  her 
retinue,  received  so  large  a  sum." 

Besides  the  musical  instruments  already  referred  to,  there  is  one 
called  the  "  Drone,"  of  which  we  have  two  notices  :  1501-2,  January  1st. 
"to  Nicholas  Grey,  playand  on  the  dron,  xiiij  s";"  and  1503,  April  18th, 
"  Jame  that  playis  on  the  drone,  xiiij  s."  ^^ 

1  Treasurer's  Accounts,  vol.  iii.  p.  360.  munication  with  the  King,  and  one  of  his  retainers 

-  Ibid.,  vol.  iv.  pp.  92-3.  who  brought  hawks  to  James  received  on   24tb 

3  Ibid.,  vol.  iv.  p.  112.  July  £7.      1512-13,  March:   another  retainer  who 

Ibid.,  vol.  iv.  p.  338.  came  with  letters  received  £7,  and  a  priest  who 

"  1507-8,   January  1st.      The   "  Italien  Schaw-  accompanied  him  £4,  4s. — Treasurer's  Accounts, 

maris"  were  paid.— Ibid.,  vol.   iv.  p.   92.      1511.  vol.  iv.  pp.  135,  406. 

"Four    Italian     Schawmeris    and     four    Italian  »  Ibid.,  vol.  i v.  p.  416. 

trumpattis."— Ibid.,  vol.  iv.  p.  270;  Ibid,,  p.  324.  i»  Ibid.,  vol.  iv.  pp.  434-5. 

"  There  were  eleven  French  drummers,  fiddlers,  "   Ibid.,  vol.  iv.  j).  527. 

organists,   and    trumpeters.  — Ibid.,    vol.    iv.    pp.  '-  Ibid.,  vol.  iv.  p.  415. 

443-4.  13  Ibid.,  vol.  ii.  p.  397. 

'  Ibid.,  vol.  iv.  p.  402.  i4  ibid.,  vol.  ii.  p.  131. 

s  As   early   as   150S  the  Prince  was   in  com-  ''  Ibid.,  vol.  ii.  p.  367. 


146 


MUSICAL    INSTEUMENTS 


Throughout  the  country  musicians  amused  the  King  during  his 
frequent  excursions.  Thus  we  hear  of  Harpers  at  Linlithgow,^  Fowlis 
in  Angus,"  Duchal,^  Elgin,*  Eliotstown,^  and  Dingwall ;  "^ 

Clarschas  at  Perth,^  Dumbarton,^  Balquidder,^  Glenluce/"  Loch- 
maben,"  Stirling,^^  Wigtown, ^^  Inchmahome,"  and  Ayr  ;  ^^ 

Drummers  at  Dumfries,^"  Wigtown,"  Dingwall,^*  Kirk  of  Kile,^" 
Dumbarton,""  and  Haddington  ;  "^ 

Pipers  at  Aberdeen,^"  Dumbarton,"^  Wigtown,"*  Dumfries,"*  Glenluce,^* 
Biggar/^  Ayr,"^  Lincluden,^^  Lochmaben,^"  and  Crail ;  ^^ 

Fiddlers  at  St.  Andrews,^"  Falkland,^*'  Dunbar.^**  Duresder,^*  Montrose,'' 
Bothwell,^^  Perth,^*  Biggar,''"  Wigtown,*"  Lochmaben,*^  Inchmahome,*^ 
Dumbarton,*^  Penpont,**  Crail,**  and  Glasgow  ;  *" 

Luterers  at  Perth,*'  Stobhall,*'  Whithorne,*^  Stirling,*"  Threave," 
Kirkintulloch,*"  and  Falkland  ;  *^ 

A  Monochordis  at  Dunotter,**  and  Minstrels  at  Doun,*?  Haddington,®' 
and  St.  Andrews.*' 


342, 


1  Treasurer's  Accounts 

vol. 

i.  p. 

176. 

30  Treasurer's  Accounts,  vol.  iii.  p.  130. 

2  Ibid.,  vol.  i.  p.  372. 

31  Ibid.,  vol.  iii.  p.  413. 

3  Ibid.,  vol.  i.  p.  378. 

32  Ibid.,  vol.  i.  p.  333. 

'  Ibid.,  vol.  ii.  p.  401. 

33  Ibid.,  vol.  i.  pp.  333,  371  ;   vol.  ii.  pp. 

6  Ibid.,  vol.  iii.  p.  152. 

459. 

6  Ibid.,  vol.  iii.  p.  167. 

31  Ibid.,  vol.  i.  p.  337. 

^  Ibid.,  vol.  i.  p.  324. 

35  Ibid.,  vol.  i.  p.  356. 

8  Ibid.,  vol.  i.  p.  383. 

30  Ibid.,  vol.  ii.  p.  123. 

»  Ibid.,  vol.  ii.  pp.  119, 

120. 

37  Ibid.,  vol.  ii.  p.  366. 

i"  Ibid.,  vol.  ii.  p.  371. 

38  Ibid.,  vol.  ii.   p.  377  (1503,  July  3rd), 

11  Ibid.,  vol.  iii.  p.  131. 

ane  Erach  fithelar  in  Sanct  Johnstouu,  v  s." 

12  Ibid.,  vol.  iii.  pp.  135-137. 

30  Ibid.,  vol.  ii.  p.  421. 

13  Ibid.,  vol.  iii.  p.  193. 

*o  Ibid.,  vol.  iii.  p.  193. 

1*  Ibid.,  vol.  iii.  p.  338. 

"  Ibid.,  vol.  iii.  pp.  130-149. 

15  Ibid.,  vol.  iii.  p.  404. 

42  Ibid.,  vol.  iii.  p.  339. 

16  Ibid.,  vol.  ii.  p.  370. 

"  Ibid.,  vol.  iii.  p.  368. 

"  Ibid.,  vol.  ii.  p.  371. 

■1*  Ibid.,  vol.  iii.  p.  373. 

1'  Ibid.,  vol.  ii.  p.  167. 

«5  Ibid.,  vol.  iii.  p.  413. 

10  Ibid.,  vol.  ii.  p.  366. 

40  Ibid.,  vol.  iv.  p.  345. 

20  Ibid.,  vol.  iii.  p.  368. 

47  Ibid.,  vol.  i.  p.  324 ;  vol.  ii.  pp.  462-465 

21  Ibid.,  vol.  iv.  p.  85. 

«  Ibid.,  vol.  i.  p.  376. 

22  Ibid.,  vol.  i.  pp.  362, 

375, 

vol 

ii.  pp.  124, 

40  Ibid.,  vol.  i.  p.  385. 

388,  400,  463,  464  ;  vol.  iii.  p. 

168. 

50  Ibid.,  vol.  ii.  pp.  97-98. 

23  Ibid.,  vol.  i.  p.  383  ; 

vol.  ii.  p. 

434. 

51  Ibid.,  vol.  ii.  pp.  113,  158. 

21  Ibid.,  vol.  ii.  pp.  158 

366 

371 

52  Ibid.,  vol.  ii.  p.  113. 

25  Ibid.,  vol.  ii.  pp.  370,421,453; 

vol.  iii.  p.  130. 

53  Ibid.,  vol.  ii.  pp.  342,  417-459. 

26  Ibid.,  vol.  ii.  p.  371. 

5*  Ibid.,  vol.  ii.  p.  463. 

27  Ibid.,  vol.  ii.  p.  421. 

55  Ibid.,  vol.  iv.  p.  75. 

28  Ibid.,  vol.  iii.  p.  1.52, 

"ane 

schawmir.'" 

50  Ibid.,  vol.  iv.  p.  85. 

20  Ibid.,  vol.  iii.  p.  l.'iS. 

5"  Ibid.,  vol.  iv.  p.  1 15. 

'to 


THE    HIGHLAND    HARP  147 

Churchmen,  nobles,  barons,  chiefs  of  clans,  and  gentlemen  retained 
musicians.  So  the  King  had  the  additional  advantage  of  hearing  the 
Harpers  of  the  Lord  of  Balnagowan,^  the  Thane  of  Cawdor,"  the 
Countess  of  Crawford,^  the  Bishop  of  Ross,^  the  Bishop  of  Caithness,^ 
and  Lord  Sempil ;  ^' 

The  Clarschas  of  the  Earl  of  Argyle,^  Maclain,*  the  Prior  of  White- 
horn,"  and  O'Donnel,  Prince  of  Connal ;  ^° 

The  Drummers  of  Lord  Hamilton,"  the  Laird  of  Cragyis,^"  John 
Murray,^^  Lord  Fleming,"  the  Bishop  of  Moray, '^  and  the  Lord  of 
Aubigny  ; '" 

The  Fiddlers  of  Sir  Alexander  Jardine  "  and  Sir  George  Lawediris  ;  ^^ 

The  Luterers  of  the  Prior  of  Whitehorn,'"  the  Laird  of  Johnston,^* 
Lord  Ruthven,'"  the  Bishop  of  Moray ,^^  the  Laird  of  Kilmaurs,"^  the 
Countess  of  Crawford,^*  and  the  Minstrels  of  Lord  Seton  ^^  and  the  Earl 
of  Bothwell.-'' 

Of  all  the  instruments  referred  to,  the  Harp  and  Clarscha  being  of 
the  first  importance,  it  is  desirable  that  they  should  be  more  fully 
noticed. 

The  Harp,  as  already  stated  on  the  authority  of  an  anonymous  writer, 
was  strung  with  the  intestines  of  an  animal.  There  is  unfortunately  no 
specimen  of  this  instrument  extant,  but  it  most  probably  resembled  the 
Clarscha  in  form  ;  but  as  the  tension  of  gut  is  considerably  less  than 
that  of  wire,  to  allow  for  the  necessary  vibration  the  sounding-board  was 
most  likely  somewhat  thinner  than  that  of  the  Clarscha.  It  may, 
however,  be  remarked  that  when,  as  will  be  afterwards  noticed,  a 
genuine  Clarscha  was  strung  with  gut  and  played  upon,  it  was  found 

'  Treasurer's  Accounts,  vol.  ii.  p.  125.  '^  Treasurer's    Accounts,     vol.     iii.     pp.     356, 

2  Ibid.,  vol.  ii.  p.  126.  375,  400,  403 ;  vol.  iv.  pp.  75,  137. 

3  Ibid.,  vol.  iii.  p.  163.  i°  Ibid.,  vol.  iii.  p.  403. 
i  Ibid.,  vol.  iii.  p.  190.  '1=  Ibid.,  vol.  iv.  p.  124. 
»  Ibid.,  vol.  iii.  p.  342.  "  Ibid.,  vol.  iii.  p.  139. 

6  Ibid.,  vol.  ii.  p.  443.  '*  Ibid.,  vol.  iii.  p.  190. 

7  Ibid.,   vol.   ii.   p.    388;    vol.    iii.    pp.    339-  'Mbid.,  vol.  ii.  p.  104. 
365.                                                                                         20  ibid^  yol.  ii.  p.  HI. 

8  Ibid.,  vol.  iii.  p.  339.  21  n,;,}.,  vol.  ii.  p.  343. 
"  Ibid.,  vol.  iii.  p.  375.                                                    22  jbid.,  vol.  ii.  p.  439. 

i»  Ibid.,  vol.  iv.  p.  415.  23  ibid.,  vol.  iii.  p.  144. 

11  Ibid.,  vol.  ii.  p.  367.  24  ibid.,  vol.  iii.  p.  190. 

12  Ibid.,  vol.  ii.  p.  443.  25  ibid.,  vol.  ii.  p.  145. 

13  Ibid.,  vol.  iii.  pp.  139-154.  26  ibid.,  vol.  iv.  p.  93. 


148  MUSICAL    INSTEUMENTS 

to  be  an  agreeable  instrument,  specially  from  the  centre  of  the  scale  to 
the  treble.  The  Hai-p,  it  may  be  remarked,  compared  with  the 
Clarscha,  was  a  comparatively  easy  instrument  to  learn. 

The  Clarscha,  or  Irish  Harp,  was  principally  in  use  in  Ireland  and 
the  Highlands  and  Islands  of  Scotland,  where  the  best  performers  were 
to  be  met  with.  The  princes  and  chiefs  of  Ireland  retained  harpers,  and 
the  nobles  and  chiefs  of  the  Highlands  and  Islands  did  the  same.  This 
most  difficult  instrument  could  only  be  mastered  by  those  who  had  com- 
menced the  study  at  or  before  the  early  age  of  ten  or  twelve.  The 
prolonged  vibration  of  the  wire  strings  required  to  be  immediately 
stopj)ed  or  damped :  thus,  as  soon  as  a  finger  pulled  a  string  another 
finger  stopped  the  vibration,  and  when  the  performer  upon  the  Clarscha 
was  a  proficient  no  jarring  of  the  strings  against  the  finger-nails  was  heard. 

Of  the  Clai'scha  of  this  period  we  have  fortunately  a  plain  but 
excellent  specimen — the  Lament  Harp.  The  instrument  in  Scotland,  as 
in  Ireland,  had  probably  a  number  of  thin  steel  strings  in  the  treble,  and 
was  most  likely  tuned  and  played  upon  in  the  Highlands  as  in  Ireland. 
As  already  mentioned,  the  Clarscha  was  splendidly  decorated,  and  set 
with  gems  or  crystal ;  and  we  hear  of  "  ane  cais  to  Ersch  Clarscharis 
harp  coverit  with  leddir,"  which  cost  £2,  2s.  ,^  enough  to  show  how 
carefully  these  beautiful  instruments  were  protected  from  damage  at  a 
period  when  roads  were  few  and  rough,  and  conveyances  with  springs 
were  perhaps  not  thought  of.  It  may  be  remarked  that  between  this 
instrument  and  the  Harp  a  distinction  is  almost  invariably  made,  for 
although  we  hear  of  English  harpers  we  have  no  notice  of  an  English 
Clarscha ;  and  although  several  Irish  Clarscha  are  mentioned,  we  only 
hear  of  one  Irish  harper,  and  that  is  certainly  an  error.  On  the  other 
hand,  we  find  Pate  harper  Clarscha  frequently  mentioned,  also  Erse 
Clarscha,  but  only  one  Erse  harper,  probably  an  error.  It  is  possible, 
and  even  probable,  that  some  of  the  performers  upon  the  Clarscha,  such 
as  Pate  (Patrick),  whose  nationality  is  not  given,  were  Irish.  Half  a 
century  later  (1563-6),  the  inhabitants  of  a  portion  of  Galloway  spoke 
"  erishe,"  ^  and  between   this  isolated  Gaelic-speaking  community  and 

'  Treasurer's  Accounts,  vol.  iii.  p.  367.  therle   of   Cassills   and    his   frendes.       A   barrant 

2  "KARRIK  BAILZERY."  cutree  but  for  bestiall ;  the  people  for  the  moste 

" Beyonde  the  Mull  of  Gallowaye  And  of  Lowg-  part   speketh    erishe." — Archseological    and   His- 

ryane  soueth  with  the  same  Karick,    bailzerye,  torical  Collections  relating  to  the  Counties  of  Ayr 

parcell  of  the  shereffdome  of  Are.      Inhabited  by  and  Wigtown,  vol.  iv.  p.  I". 


THE    HIGHLAND    HAEP 


149 


Ireland  there  must  have  been  frequent  communication.  A  few  hours' 
sail  would  bring  an  Irish  harper  to  the  noted  shrine  of  St.  Ninian,  so  the 
Clarscha  of  the  Prior  of  Whithorn  and  those  who  performed  before  the 
King  at  Wigtown,  Lochmaben,  and  Ayr,  probably  came  from  the  neigh- 
bouring island. 

As  the  Accounts  of  the  Lord  High  Treasurer  during  the  reign  of 
James  v.  have  not  been  published,  and  the  writer  has  been  unable  to 
examine  the  voluminous  MS.  record,  this  notice  will  conclude  with  the 
kw  brief  references  to  the  Harp  which  appear  in  printed  volumes. 

1533-4.  A  dispute  having  arisen  as  to  the  ownership  of  a  harp 
claimed  by  Walter  Buchanan  of  Spittel,  on  the  one  side,  and  Isabella 
Logan,  John  Lennox,  her  son,  and  Thomas  Napier  of  Ballekinrain,  on  the 
other,  "the  said  Walter"  was  directed,  February  23rd,  "to  deliver  ane 
harp  als  gude  as  it  was  at  the  tyme  it  was  taken  fra  the  said  Isabell." ' 

1590.  When  Anne  of  Denmark  entered  Edinburgh,  we  learn  that 

"Thair  was  Hautbois  and  the  Harp 
Playing  maist  sweit  and  pleasant  springs."  - 

1594.  When  Archibald,  Earl  of  Argyll,  led  an  anny  against  the 
Earls  of  Angus,  Huntly,  and  Errol,  he  was  accompanied  by  his  harper.^ 

For  a  considerable  period  the  chiefs  of  the  Islands,  such  as  the  Laird 
of  Macleod  ■*  and  Maclean  of  Goll,^  continued  to  retain  harpers. 

Down  to  1700  the  musical  instruments  of  the  people  about  Inver- 
lochy  were  "  Bagpipes,  or  violes,  or  harps,  specially  the  clarschach." " 

Mr.  Gunn  mentions  a  few  of  the  noted  harpers.  The  last  of  all 
appears  to  have  been  Murdoch  Macdonald,  who  received  his  first  in- 
struction from  Eory  Dall,  Macleod's  harper  at  Dunvegan.  Afterwards 
he  crossed  to  Ireland,  where  he  no  doubt  completed  his  musical 
education.  Eventually  he  settled  in  Coll  as  the  estabhshed  harper 
of  the  laird  of  that  island,  with  whose  family  he  remained  until 
1734,  when  he  retired  to  Quinish  in  Mull,  where  he  died.^  From 
another  source  we  learn  that  Miss  MacLean,  afterwards  Mrs.  Mackenzie, 
recollected   having   heard   him    play   in    the    house    of  her  father.  Dr. 


•  Musical  Memoirs  (Daly ell),  pp.  236-7. 
'■  Ibid.,  p.  162. 

■■  Gunn's  Enquiry,  p.  51. 

*  Ibid.,  p.  95. 


Gurm's  Enquiry,  p.  101. 

Musical  Memoirs  (Dalyell),  p.  235. 

Gunn's  Enquiry,  p.  101. 


150  MUSICAL    INSTRUMENTS 

MacLean,  near  Tobermory.    This  was  probably  prior  to  1773,  during  which 
year  Dr.  Johnson  met  Miss  MacLean  and  specially  noticed  her.^ 

Although  the  native  performers,  as  far  as  we  know,  were  stationary, 
Scotland  was  occasionally  visited  by  harpers  of  note  from  the  neighbour- 
ing island,  who  travelled  from  castle  to  castle,  and  even  performed 
before  the  Court  at  Holyrood.  Two  of  these,  Hempson "-  and  O'Kane, 
were  to  be  heard  during  the  eighteenth  century,  but  even  then  the 
instrument  had  almost  disappeared  in  Scotland,  for  we  know  that  the 
former,  during  his  frequent  visits  to  country  houses,^  met  with  only  one 
harp,  and  that  a  very  small  instrument.  In  fact,  fashion  had  changed  ivy 
Scotland,  and  other  instruments  had  replaced  the  Clarscha. 

EXCERPT    FKOM    THE   ACCOUNTS   OF   THE    LORD   HIGH  TREASURER   OF 
SCOTLAND    RELATING   TO   THE   HARP   AND  CLARSCHA 

1491.      April  5th  [Linlithgow],  til  a  harpar,     .......     xviij  s  * 

April  19th,  to  Martyn,  clareschaw,  and  the  toder  Ersche  clareschaw, 

at  the  Kingis  cominand,  .........     xviij  s 

May  30th,  til  ane  Ersche  harpar,  at  the  Kingis  command,     .         .         .     xviij  s  * 
1490-1.  January  2nd,  to  Martyn  M'Bretne,  clareschaw,     .         .         .         .         .  x  s 

,,  til  ane  oder  Ersche  clareschaw,        .         .         .         .         .  v  s " 

1494.      Dress  to  Pate  Harpar,  ..........  "^ 

1496.  April  25th,  giffin  to  James  Mylsone  the  harpare  at  the  Kingis  com- 

mand,    ...........      xiij  s  iiij  d  ^ 

August  3rd,  giffin  to  the  harpare  with  the  a  hand,         .         .         .         .  ix  s  " 

October  28th,  to  James  Mylsone,  the  harpare,  at  the  Kingis  command,   xxxvj  s '" 

1496-7.  January  3rd,  giffin  to  Pate,  harpare, xiij  s  iiij  tt  i^ 

February  25th,  giffin  to  Fowlis  the  harpare  at  the  King's  command,  xiiij  s  i- 

March  13th   [Perth],  to   a  man  that  playit   on  the   clarscha  to  the 

King, vii  s  13 

1497.  March  28th,  to  Mylsone  the  harpare, xiiij  s 

Fowlis  the  harpar,        ..........      xiiij  s 

to  Pate  harpare,    .         .         .         .  .         .         .         .         .         ix  s  '* 

April  10th,  to  Johne  harpar  with  the  ane  hand,  at  the   Kingis  com- 
mand,      ix  s  1* 

May  5th,  at  the  Kingis  command,  to  Mylsoune,  harpar,         .         .       xiij  s  iiij  3  ^^ 

1  Gaelic  Proverbs,  edited  by  Alex.  Nicolson.  *  Treasurer's  Accounts,  vol.  i.  p.  273. 
Edn.  1881,  pp.  409-410.  "  Ibid.,  p.  288. 

2  He  performed  before  Prince  Charles  Edward  '"  Ibid.,  p.  304. 
at  Holyrood.  "  Ibid.,  p.  309. 

3  During  his  second  visit  to  Scotland.  ^^  Ibid.,  p.  321. 
*  Treasurer's  Accounts,  vol.  i.  p.  176.  ^^  Ibid.,  p.  324. 
5  Ibid.,  p.  177.  "  Ibid.,  p.  326. 

Ibid.  p.  184.  1*  Ibid.,  p.  329. 

Ibid.,  p.  232.  1*  Ibid.,  p.  333. 


THE   HIGHLAND    HARP  151 

June  1 2th,  to  Fowlis  the  harpar,  .         .  .         .         .         .  ix  s  ^ 

September  20th,  at  the  Kingis  command,  to  Pate  harpar,      .  .     xviij  s  ^ 

October  2nd,  to  Pate  harpar,  at  the  Kingis  command,  .         .         .         .         ix  s  ^ 

December  19th,  in  Fowlis  in  Angus,  to  the  harpar  there,  at  the  Kingis 

command,        ...........      xiiij  s  * 

February  —  be  the  Kingis  command  to  James  Mylson,  .         .         .  ix  s  ° 

1497-8.  February  21st,  at  the  Kingis  command,  to  Sande  harpar,      .  xiij  s  iiij  d  ^ 

February  22nd,   in   Dowquhale,   to   the   harpar,  be  tlie  Kingis  com- 
mand,    ............      xiiij  s  '' 

March  16th,  in  Dowchale,  to  the  harpar  thare,      ....       xiij  s  iiij  d 

March  19th,  in  Dunbertane,  to  the  man  that  play  it  to  the  King  on  the 

clarscha,  be  the  Kingis  command,    .......      xiiij  ,? 

March  20th,  to  Andro  Wod,  that  he  hed  laid  doune  to  ana  Inglis  harpar, 

be  the  Kingis  command,  .......       xiij  s  iiij  d  * 

1501.  December,  clothes  for  Pate  Harpar,  clarscha, ^ 

April  1 3th,  Pate  harpar  on  the  harp,  Pate  harper  on  the  clarscha,  James 

Mylson  harpar,  the  Ireland  clarscha,  and  an  English  harpar,  each 

received xiiij  s  ^° 

May  22nd,  be  the  Kingis  command,  to  Pate  harpar,      ....  xiiij  s 

May  25th,  to  James  Mylson,  harpar,  be  the  Kingis  command,                .  xiiij  i '' 

June  1st,  to  Pate  harpair,     .........  xiiij  s  ^- 

September  14th  [Balquidder],  to  ane  clarschaar  thare,  .         .         .         .  ij  s  '^ 

September  16th  [Balquidder],  to  tua  men  that  playit  on  the  clarscha 

and  sang  to  the  King,  be  the  Kingis  command,        ....  xxviij  s  ^* 

November  11th,  be  the  Kingis  command,  to  the  lard  of  Balnagownis 

harpare,           ...........  xiiij  s  '^^ 

November  15th,  to  Alexander  Harper  be  [the  Kingis  command],  to  help 

him  to  by  ane  hors,         .........  xxviij  s 

November  18th,  to  the  Thayn  of  Caldoris  harpar,  be  the  Kingis  com- 
mand,       xiiij  s  "^ 

1501-2.  January  1st,  James  Mylson,  Pate  Harpar,  Alexander  Harpair,  Pate 

Harpar  clarscha,  and  the  blind  harper,  each xiiij  s  i" 

1502.  September  26th,  be  the  Kingis  command  to  Mylson  harpar,           .         .  xviij  s  '^ 
1502-3.  January  1st  [Arbroath],  to  four  harparis,  ilk  ane xiiij  s  ^^ 

February  22nd,  to  the  blind  harpar,  be  command,  ....      xiiij  s 

1503.  April  18th,  to  Pate  Harpar,  Alexander  Harpar,  Pate  Harper  clarescha, 

and  the  blind  harper,  each xiiij  s  ^^ 

'  Treasurer's  Accounts,  vol.  i.  p.  340.  '"  Treasurer's  Accounts,  vol.  ii.  p.  102. 

2  Ibid.,  p.  359.  11  Ibid.,  p.  109. 

3  Ibid.,  p.  361.  12  Ibid.,  p.  110. 
^  Ibid.,  p.  372.  13  Ibid.,  p.  119. 
^  Ibid.,  p.   376.      Besides  the  James  Mylson,  "  Ibid.,  p.  120. 

harper,  there  was  a  "taubronar"   (drummer)   of  i^  Ibid.,  p.  125. 

Leith    of   the    same    name.  —  Vol.    ii.    pp.    141,  i"  Ibid.,  p.  126. 

155.  "  Ibid.,  p.  131. 

«  Ibid.,  p.  377.  18  Ibid.,  p.  342. 

■  Ibid.,  p.  378.  i»  Ibid.,  p.  353. 

«  Ibid.,  p.  383.  20  ibid.,  p.  359. 

9  Ibid.,  vol.  ii.  p.  55.  =i  Ibid.,  p.  367. 


20 


S  3 


SXVllJ  s  ' 

xiiij  s  ^ 

xiiij  s  ^ 

xiiij  s  1" 

152  MUSICAL    INSTEUMENTS 

May  2nd,  to  Makberty  the  clarscha  to  pas  in  the  His,  be  the  Kingis 
command,  v  Franch  crounis,  summa  .         .         .         .         .  iij  t 

May  15  th,  to  the  clarscha  in  Glenlus, 

August  19th,  to  the  Erie  of  Ergiles  clarschar,  be  the  Kingis  command,       xiiij  s 

August  21st  [Aberdeen],  to  the  Inglis  harparis,  ij  ros  nobles,  summa      iij  ti  x  i  ^ 

September  23id  [Stirling],  to  ane  Inglis  harpar,  be  the  Kingis  com- 
mand, X  Franch  crounis,  summa vij  ti  ^ 

October  2nd,  to  Alexander  harpar  and  James  Mylson,  be  the  Kingis 

command,        ...........  xxviij  s  ^ 

October  8th,  in  Elgin,  in  Murray,  to  ane  blind  harpar  thare,  be  the 
Kingis  command,    .......... 

October  27th,  to  Pate  Harper,  clarscha, 

1503-4.  January  1st,  to  Alexander  Harpar,  Pate  Harpar,  Pate  Harpar  clarscha. 
Hew  Brabenar,  and  the  blind  harpar,  harpars,  each 

1504.  June  31st,  in  Paslay,  to  Lord  Simpilles  harpar,      ..... 
July  31st,  to  Alexander,  harpar,  and  James  Mylson,  be  the  Kingis  com- 
mand,     ............  xxviij  s  '1 

August  2nd,  be  the  Kingis  command,  to  James  Mylson  and  Alexander, 

harpar,  to  fee  thaim  hors  to  pas  to  the  raid  to  Eskdale,   .         .         .  xxviij  s  ^^ 

October  22nd,  to  the  lard  of  Balnagownis  harper,  be  command,     .         .      xiiij  s  ^^ 

November  7th,  in  Sanct  Johnestoun  to  Mylson,  harpar,  be  the  Kingis 

command,        ...........      xiiij  s  i* 

November  I7th,  to  the  Countes  of  Craufurdis  harpar,    ....      xiiij  s  '^ 
1504-5.  January  1st,  to  James  Mylson,  Alexander,  harpar,  Bonaventure,  Pate 

Harpar,  clarscha,  and  his  son,  ilk  ane       ......      xiiij  s  ^^ 

March  12th  [Lochmaben],  to  ane  clarschaar  there,  be  command,    .         .        vij  s  i" 

1505.  March  25th,  to  Mylson,  Alexander  harpar.  Pate  harpar,  clarscha,  the 

blind  harpar,  Bragman,  harparis,  ilk  ane           .....  xiiij  s  '^ 
April  12tli,  to  the  Ersch  clarschaar,  for  ane  stane  tane  fra  him  be  the 

King,       ............  xlij  s  ^^ 

May  1st  [Dumbarton],  to  ane  clarschaar,  be  command,           .         .         .  v  s  -" 

May  9  th,  to  Mylson,  harparis,        ........  ix  s 

May  22nd  [Stirling],  to  ane  clarschaar,  be  the  Kingis  command,    .         .  xiiij  s 

July  26th,  in  Eliotstoun  to  ane  harpar  thare,-"  be  the  Kingis  command,    .  xiiij  s 

July  28th,  to  Pate,  harpar,  at  the  Kingis  command,       .         .         .          .  ix  s 

August  16th,  to  Alexander,  harpar,  be  command  of  the  Lordis  of  the 


--  oo 


Chekker, 

XX  s  2^ 

1  Treasurer's  Accounts, 

vol. 

ii.  p.  369. 

1^  Treasurer's  Accounts,  vol.  ii.  p.  465. 

2  Ibid.,  p.  371. 

15  Ibid.,  p.  467. 

3  Ibid.,  p.  38S. 

1^  Ibid.,  p.  472.     Bonaventure  was  probably  not 

*  Ibid.,  p.  389. 

a  harper. 

6  Ibid.,  p.  397. 

"  Ibid.,  vol.  iii.  p.  131. 

«  Ibid.,  p.  400. 

IS  Ibid.,  p.  132. 

7  Ibid.,  p.  401. 

i»  Ibid.,  p.  135. 

8  Ibid.,  p.  403. 

20  Ibid.,  p.  137. 

"  Ibid.,  p.  412. 

21  Ibid.,  p.  139. 

10  Ibid.,  p.  443. 

22  Ibid.,  p.  140. 

11  Ibid.,  p.  449. 

23  Probably  Lord  Sempill's. 

12  Ibid.,  p.  450. 

2«  Ibid.,  p.  152. 

13  Ibid.,  p.  464. 

2°  Ibid.,  p.  156. 

THE    HIGHLAND    HAEP 


153 


September  9th,  to  Bragman  harpar,  be  the  Kingis  command, 
September  21st,  to  the  Countes  of  Craufurdis  harpar,  be  command, 

to  the  blind  harpair,  be  the  Kingis  command,         .... 

October  19th,  in  Dignewaill,  to  ane  harpar,  be  the  Kingis  command, 
December  7th  [Edinburgh],  to  ane  Irland  clarschaar,     .... 

1506.  April  14th,  to  Alexander  harpar,  Pate  harpar  clarscha,  his   son,  tlie 

Ersch  clarscha,  his  son,  the  Beshop  of   Ros  harpar,  the  Bragman 
harpar,  ilk  man,       ........ 

Henry  Philip,  harpar,    ........ 

to  the  blind  harpar,       ....... 

May  1st,  to  ane  clarschaar  in  Wigtoun,  .... 

September  1st,  in  Inchcalloun  [Inchmahom],  to  ane  clarscha, 

September  2nd,  to  Pate,  harper,  be  command, 

September  3rd,  to  Maklanis  clarscha,     ..... 

September  4th,  to  the  Erie  of  Ergiles  clarscha, 

September  12th,  to  the  beshop  of  Caithnes  harpar, 

October  20th,  to  Alexander  harpar,        ..... 

November  3rd,  to  Pate  Harp,  clarscha,  .... 

November  24th,  to  Pate  Harpar,  clarscha,     .... 

December  22,  to  Pate  Harpar,       ...... 

1506-7.  January  1st,  Harparis  and  clarscharis  paid,  .... 

February  2nd,  to  the  Erie  of  Ergiles  clarscha, 

February  6th,    for   ane    cais    to  Ersch   clarscharis   harp   coverit   with 
leddir,      .......... 

March  18th,  to  the  aid  Priour  of  Quhithirnis  clarscha, 

March  20th,  to  Pate  Harpar,  clarscha,   ..... 

1507.  April  6th,  to  Alexander,  harpar,    ...... 

to  KoUand,  clarschaar,  and  Pate  Harpar,  clarscha, 

June  14th,  to  Pate  Harpar,  clarscha,      ... 

to  Alexander  harpar,    ...... 

July  17th,  to  Pate  Harpar,  clarscha,      ..... 

to  ane  Ersch  menstrale,         ..... 

July  22  [Ayr],  to  the  clarschar  thar, 

September  27th,  to  Pate  Harpar,  clarscha,     .... 

1507-8.  January  1st,  to  Alexander,  harpar,  Bragman  and  Pate,  harpar, 

1508.  April  25th,  to  Alexander  Harpar,  Adam  Dickson,  Irish  clarscha  and 

Bragman,  ilk  ane      .......... 


xnij 

xiiij  I 

vij 

xiiij 

V  I 


IX 

ix 
ix 

V 

xiiij 

xiiij 

ix 

xiiij 

xiiij 

xiiij 

vij 

ix 

vij 

xiiij 

xlij 
xiiij 
xiiij 
xiiij 
xxviij 
xiiij 
xiiij 

V  ; 

xiiij 

V 

xiiij 

xlij  i 


5" 

14 
S  15 


S 

a  1" 


s 

S  19 


Xlll] 


•  Treasurer's  Accouuts,  vol.  iii.  p. 

2  Ibid.,  p.  163. 

3  Ibid.,  p.  167. 
■I  Ibid.,  p.  175. 
5  Ibid.,  p.  190. 
c  Ibid.,  p.  193. 

7  Ibid.,  p.  .338. 

8  Ibid.,  p.  339. 
"  Ibid.,  p.  342. 

I"  Ibid.,  p.  3.51. 
11  Ibid.,  p.  332. 
1-  Il)id.,  p.  35-t. 


160. 


1^  Treasurer's  Accounts,  vol.  iii.  p.  358. 

14  Ibid.,  p.  360. 
'■^  Ibid.,  ]).  360. 
I'l  Ibid.,  p.  367. 
"  Ibid.,  p.  375. 

15  Ibid.,  p.  379. 
13  Ibid.,  p.  392. 

21  Ibid.,  p.  403. 
-1  Ibid.,  p.  404. 

22  Ibid.,  vol.  iv.  p.  76. 

23  Ibid.,  p.  93. 
2<  Ibid.,  p.  112. 


154  MUSICAL   INSTEUMENTS 

1511.      to  Adam  Dikesone  harpar  for  his  leveray  goune,  etc.,    .         .  iiij  ti  ^ 

1512-13.  January,  to  the  Scottis  harparis,  ilk  ane       ......  xiiij  s - 

1513.      July  11th,  to  Odonelis  harpar  qixhilk  past  away  with  him,     .         .         .  vij  li  ^ 


REPRESENTATIONS   UPON  STONE 

For  the  form  of  the  Harp  in  use  in  Scotland  at  a  remote  period  we 
must  turn  to  such  representations  of  the  instrument  as  appear  upon  the 
sculptured  stones.  Of  these  seven  have  fortunately  been  preserved,  and 
they  are  here  noticed  in  the  order  in  which  they  are  supposed  to  have 
been  sculptured. 

No.  I.  The  representation  upon  the  stone  at  the  chapel  at  Altbar, 
Aberlemno,  Forfar  (c.  eighth  or  ninth  century),  shows  us  an  instrument 
triangular  in  foi-m,  with  curved  fore-pillar.  The  strings  are  indicated, 
but  as  the  stone  is  much  weather-worn  the  number  cannot  be  ascertained.'' 

No.  II.  The  sculpture  at  Nigg,  Ross-shire  (c.  ninth  or  tenth  century), 
is  somewhat  similar,  the  foi-e-pillar  being  in  this  instance  straight.  The 
strings  (of  which  there  are  eight)  are  in  their  proper  position.* 

No.  III.  is  at  Dupplin,  Perthshire  (c.  tenth  or  eleventh  century). 
Here  the  instrument,  which  is  triangular  in  form,  has  eight  strings  and 
a  straight  fore-pillar.  The  performer  is  seated  upon  a  chair  with 
an  ornamented  back  and  apparently  holds  the  Harp  against  his  left 
shoulder.'^ 

No.  IV.  From  Monifieth,  Forfarshire  (c.  tenth  or  eleventh  century), 
at  present  in  the  National  Museum,  Edinburgh,  is  both  better  designed 
and  better  preserved.  The  Harp  is  triangular  in  form,  with  a  very 
slightly  curved   fore-pillar.      There    are   eight  strings.      The   harper  is 

'  Treasurer's  Accounts,  vol.  iv.  p.  262.  longer  distinct.     The  head  is  from  a  sketch  taken 

2  Ibid.,  p.  402.  before  the  rubbing  was  made.    The  illustration  in 

3  Ibid.,  p.  415.  the  Sculptured  Stones  of  Scotland  is  in  some 
••  From  a  rubbing  bj'  Romilly  Allen,  Esq.  respects  different.  A  careful  rubbing  with  grass 
^  There  is  an  excellent  cast  of  this  stone  in  the  might  give  some  additional  details. 

Museum  of  Science  and  Art,  Edinburgh.  Perhaps  to  the  same  period  may  be  ascribed 

"  The  writer  had  Init  little  time  to  examine  the   sculptured    cross   slab   at  Ardchattan,  illua- 

this  stone.     The  illustration    is  from  a  drawing  trated  in  the  Early  Christian  Monuments  of  Scot- 

and  from  a  rubbing,  both  hastily  made.      The  land,  p.  378.     Upon  which  slab  a  seated  figure  is 

form  of  the  Harp,  the  man's  leg,  and  the  chair  are  represented  playing  upon  a  Harp.    One  side  of  the 

most   probably  accurate.      That    portion  of   the  instrument  is  broken  away,  but  the  harper  appears 

sculpture  which  perhaps  at  one  time  represented  to  be  holding  the  Harp  with  the  fore-pillar  towards 

the  shoulder  and  left  arm  of  the  performer  is  no  him. 


THE   HIGHLAND    HAEP 


AS    REPRESENTKD    UPON    STONE. 


I I I I I L_l 


J I : I I I 


J I \ I I I 


I   I   I   I   I   I   I 


Each  scale  represents  six  inches. 
No.  1.  Aldbar,  c.  8th  or  gth  century.    No.  2.  Nigg,  c.  9th  or  loth  century.    No.  3.  Dupplin.  c.  loth  or  nth  century. 

No.  4.   Monifieth,  c.  lOlh  or  nth  century.         No.  5.   St.  Gran's  Chapel,  lona,  c    13th  century. 
No.  G.  Cathedral,  lona,  c.  13th  century.  No.  7.   Keills,  c.  14th  century.  Nos.  8  ami  9.   Kilcoy,  1679. 


THE    HIGHLAND    HARP  155 

seated  upon  a  low  chair  with  a  back,  and  is  playing  with  his  left 
hand.^ 

No.  V.  Upon  a  slab  at  St.  Oran's  Chapel,  lona  (c.  thirteenth  century). 
The  occupier  of  a  coracle  is  represented  as  holding  a  Harp,  the  fore-pillar 
of  which  is  curved." 

No.  VI.  Upon  the  capital  of  one  of  the  columns  of  the  Cathedral, 
lona  (c.  thirteenth  century),  may  be  seen  a  i-epresentation  in  relief  of  the 
Virgin  seated.  Approaching  from  her  left  there  is  an  angel  I'obed,  with 
large  wings  and  long  hair.  Both  hands  of  the  angel  grasp  the  box  of  a  Harp, 
which  is  held  in  front  of  the  body.    The  fore-pillar  of  the  Harp  is  curved.^ 

Passing  these  early  representations  we  come  to  the  mediaeval  period. 

No.  VII.  In  the  north-east  angle  of  the  chapel  at  Keills,  Knapdale 
(c.  fourteenth  century).  This  piece  of  sculpture  is  of  great  interest  and 
importance.  We  have  here  a  representation  of  a  Highland  Harp  [Clarscha] 
of  the  period.  The  box  is  ornamented  in  a  style  similar  to  that  used  in 
decorating  the  Harp  known  as  that  of  Queen  Mary,  and  also  the  Harp 
in  Trinity  College,  Dublin.  The  fore-pillar  is  curved,  and  has  the 
T  formation,  to  be  hereafter  referred  to ;  but,  what  is  of  special  interest, 
the  harmonic  curve  shows  a  peculiar,  and  what  may  be  called  the 
distinctive  Highland,  hump.* 

The  next  and  last  representation  is  dated  1679,  and  occurs  upon  the 
lintel  of  a  fireplace  in  the  Castle  of  Kilcoy,  Ross-shu-e.  The  sculptor 
unquestionably  had  a  Highland  Harp  before  him,  perhaps  one  belonging 
to  a  retainer  of  the  chief  At  either  end  of  the  lintel  a  mermaid  is 
represented  as  playing  upon  a  Harp.  That  to  the  left  (No.  8)  is  perfect, 
and  the  Harp  is  correctly  held  by  the  performer  against  the  left  shoulder  ; 
but  here,  probably  owing  to  some  chipping  of  the  stone  or  other  accident, 
the  hump  on  the  harmonic  curve  is  not  clearly  indicated.  Upon  the 
representation  to  the  right,  the  sculptor,  to  make  his  design  more 
uniform,  has  placed  the  Harp  against  the  right  shoulder  of  the  performer, 
in  an  incorrect  position  ;  but  this  is  of  little  consequence.     What  is  of 

1   From  a  rubbing  by  the  writer.  relief.     The  harp  is  four  inches  long.     The  stone 

^  From   a   rubbing   most  obligingly  taken   by  is  much  weather-worn. 

Mr.  Alexander  Ritchie,  caretaker,  lona.  *  The  writer  is  specially  indebted  to  the  Rev. 

^  The  illustration  is  from  a  photograph  by  the  M.     Maclean,     Cramond,    who     most    obligingly 

Rev.  J.  B.  Mackenzie,  Keumore,  in  the  possession  travelled   a  considerable  distance  to  examine  the 

of    Joseph    Anderson,     LL.D.        Mr.    Alexander  slab,    and    who    made    several    rubbings    of   the 

Ritchie,    caretaker,    lona,    has    kindly    examined  Harp,   from  which  the  illustration  has  been  pro- 

the   sculpture,   which   is   about   one   half-inch    in  duced. 


156  MUSICAL    INSTEUMENTS 

real  interest  is,  that  the  hump  on  the  harmonic  curve,  which,  as  ah-eady 
stated,  is  a  distinctive  characteristic  of  the  Highland  Harp,  is  here  clearly 
indicated.  Of  this  piece  of  sculpture  the  block  projecting  from  the 
lower  termination  of  the  box  has  been  broken  avs^ay,  and  is  represented 
in  the  illustration  by  lines.  Upon  both  sculptures  the  bands  through 
which  the  tuning-pegs  pass  are  shown,  and  have  each  single  curves.^ 

This  is,  as  far  as  the  writer  is  aware,  the  latest  representation  of  the 
last  form  of  the  Highland  Harp  upon  stone  ;  but  upon  the  coins  struck 
in  Scotland  during  the  reign  of  James  vi.  after  the  union  of  the  Crowns, 
and  also  upon  one  of  Charles  I.,  the  Clarscha  is  represented. 

The  Harp  occurs  also  upon  stone,  stucco,  wood,  and  painted  ceilings 
in  Scotch  houses,"  but  these,  although  here  noticed,  are  simply  con- 
ventional representations,  and  are  of  no  interest.  Artists  no  doubt 
carried  their  designs  about,  and  reproduced  them  when  necessary. 

If  we  accept  the  Harps  that  occur  upon  the  Highland  stones  and 
upon  the  Irish  shrines  as  representations  of  the  instruments  that  were 
in  use  at  the  periods  when  the  stones  were  sculptured  and  the  shrines 
constructed,  they  may  throw  some  light  upon  the  development  of  the 
instrument.  The  occurrence  of  eight  strings,^  as  shown  by  the  Nigg, 
Dupplin,  and  Monifieth  stones,  erected  in  separate  localities,  and  sculp- 
tured at  different  periods,  can  scarcely  be  accidental.  It  may  therefore 
be  reasonably  concluded  that  the  instrument,  between  the  ninth  and  the 
eleventh  centuries,  had  that  number  of  strings.  The  number  appears 
small,  but  if,  as  is  supposed,  the  early  scales  were  gapped — that  is,  that 
two  of  the  notes  in  our  octave  were  wanting — these  eight  strings  repre- 
sent a  range  of  ten  notes,  sufficient  for  ordinary  melody. 

Harps  of  a  larger  size  may  have  been  in  use  at  a  very  early  period. 

1  The  writer  is  indebted  to  Thomas  Robs,  Esq.,       from  Clare  to  Cashel  — O'Curry's  Lectures,  vol.  iii. 

for  a  photograph  of  this  stone,   from  which  the       pp.   262,   263,   333.      The  writer   has  not  seen  a 

illustrations  have  been  taken.  representation  of  a  Harp  upon  any  illustration  of 

•)   cr   u       u  ,^     1.1      n-   1     •     T^-  .  ,         ^  r,  an  Irish  cross.     Stringed  instruments  are  sculp- 

-   Edinburgh  Laetle,  Finlarig,  Kirkton  of  Burnt-  ,        ,  ,,  ,'  ■.,         ^.  ,, 

.  ,      J       TT      .1       n    1.1        Ti-i  1      ■        ^     .   •  tured    upon    them,    but    ueither    they    nor    the 

island,     Huntly    Castle,     Pitslogie,     Craigievar,  .     ,  '  '       ,  ^,       „  .    c. 

ri,  ■       Aj       u-  i.        /-I     11        ^       ■,  .         ,,■,,  instrument    represented    upon    the   Cross    of    St. 

Glammis,    Merchiston    Castle,     Saughton    Mills,  „     ,.       ^  ,  .i       .         tt 

T.  V,     J.       IT  -Mi-ji  ii.-         -r.        ,•  ,      ,    X,     .  ,  Martin,   Jona,  have   the   true  Harp  form.      At  a 

Baberton  House,  Midlothian,  Burntisland  Parish  ,  ^  .    ,  ,  ,,    ^..t.-  i.  j   at,i.  . 

n\.       -u    r<  -T       c  ii-     T^         TT  .,  later  period  we  know  that 'Bishops  and  Abbots 

Church,  Celling  from  the  Dean  House,    Museum,  ,    ,^,  .   t     ,      j  ■      ^u     i,  t.^.     <• 

^, .   ■        r  and    holy   men  oi   Ireland  were   in   the   habit  of 

carrying  their  Harps  with  them  in  their  peregrina- 

2  As  early  as  845  a  portable  eight-string«d  tions,  and  found  pious  delight  in  playing  upon 
instrument  was  in  use  in  Ireland.  On  one  occa-  them."  —  Giraldus  Cambrensis,  Bobn's  Edition, 
sion  au  abbot  carried  one  of  these  at  his  girdle       p.  128. 


THE   HIGHLAND    HARP 


157 


Certainly  we  find  an  instrument  with  a  considerable  number  of  strings, 
upon  which  the  performer  is  represented  as  playing  with  both  hands, 
which  archseologists  now  suppose  to  belong  to  the  ninth  century.' 
The  strings  at  the  period  were  probably  rudely  and  strongly  made,  and 
as  the  tension  of  a  number  of  such  strings  tended  to  draw  the  harmonic 
curve  and  the  fore-pillar  towards  the  left,  the  artificers  adopted  an 
exceptionally  strong  formation  of  fore-pillar  to  withstand  the  strain  ; 
so  we  find  that  the  section  of  a  large  portion  of  the  centre  of  the  fore- 
pillar  resembles  the  letter  T.  This  T  formation  may  be  seen  upon  the 
shrine  of  St.  Moedoc  (c.  ninth  century).  It  is  also,  but  not  so  correctly, 
represented  upon  the  sculpture  at  Keills,  so  we  may  conclude  that  its 
importance  was  recognised  and  the  form  in  use  from  the  ninth  century. 

If  the  reader  examines  the  early  Highland  stones  and  the  Irish 
shrines  he  will  observe  a  total  absence  of  any  indication  of  a  block 
projecting  from  the  lower  termination  of  the  box.  Certainly,  the 
representations  upon  stone  are  in  low  relief  and  weather-worn,  and 
any  indication  of  a  projecting  block  may  have  disappeared  in  the  course 
of  time,  but  upon  the  shrines  this  is  not  so.  An  artist  who  could  so 
clearly  indicate  the  T  formation  of  the  fore-pillar  upon  so  small  a  space 

could,  and  probably  would,  have  represented  a  projecting  block,  if  the  box 

of  the  Harp  he  had  before  him  had  shown  that  peculiar  feature.     Again, 

upon  the  sculpture  at  Keills  we  find  the  ornamentation  upon  the  side  of 

the  box    continued    to    the    lower    termination.       The   sculptor    would 

scarcely   have    carried    the    ornamentation    to   the   extremity   had    he 

intended  to  represent  a  projecting  block. 

Considering  the  evidence,  it  is  not  unreasonable  to  suppose  that,  prior 

to   the   fourteenth  century,    a    considerable    portion 

of  the  lower  termination  of  the  box  was  left  solid 

for  the    support  of  the   fore-pillar,    and   that   about 

that    period    some    artificer,    for    the     purpose     of 

diminishing  the  weight  of  the  instrument,   removed 

a  portion  of  this  block  upon  either  side  (see  shaded 

portion  of  diagram),"   leaving   the    centre    to  which 


1  The  Shrine  of  St.  Moedoc.  When  noticing 
this  shrine  the  writer  was  under  the  impression 
that  it  was  constructed  during  the  eleventh 
century.      It  is  now  supposed   to  belong  to  the 


ninth  century. 

^  The  dotted  lines  represent  the  termination  of 
the  projecting  block,  as  shown  by  the  existing 
specimens. 


158  MUSICAL    INSTRUMENTS 

he  attached  the  fore-pillar ;  and  others,  finding  that  the  instrument 
when  so  constructed  withstood  the  tension  of  the  strings,  adopted 
the  form  which  afterwards  became  general.  This  is  conjectural  ;  but 
if  it  can  be  accepted  as  probable,  it  must  be  allowed  that  Harps  of  an 
earlier  period  may  have  been  treated  in  a  similar  manner. 

The  earliest  known  representation  of  a  Harp  with  a  projecting  block 
is  at  Jerpoint  Abbey,  Kilkenny.  The  exact  date  of  the  sculpture  has 
not  been  ascertained,  but  from  the  costume  of  the  recumbent  effigies 
archseologists  have  been  led  to  suppose  that  the  monument  was  con- 
structed during  the  early  portion  of  the  fifteenth  century ;  and  as  the 
Harp  the  sculptor  had  before  him  probably  belonged  to  O'Banahan, 
whose  effigy  is  represented,  and  may  have  been  of  considerable  age  when 
copied,  the  projecting  block  most  likely  came  into  use  between  1350' 
and  1380. 

EXISTING  SPECIMENS 

Scotland  is  fortunate  in  possessing  two  exceptionally  fine  examples  of 
the  Highland  Harp  (Clarescha),  viz.  the  Lamont  Harp  and  the  Harp 
known  as  that  of  Queen  Mary.  The  traditions,  which  account  for  the 
names  by  which  these  instruments  are  known,  have  been  fully  retailed  by 
John  Gunn  in  his  Enquiry  in  1807,  and  by  the  late  Charles  D.  Bell  in 
1880  ;  the  interesting  paper  by  the  latter  will  be  found  in  the  Proceedings 
of  the  Society  of  Antiquaries  of  Scotland,  vol.  xv.  p.  10. 

Both  these  Harps  were  deposited  in  the  National  Museum,  Edin- 
burgh, by  the  late  John  Stewart,  Esq.,  of  Dalguise,  at  the  time  Mr. 
Bell's  paper  was  read  before  the  Society,  and  have  been  admirably  cared 
for  ever  since."  By  the  permission  of  the  Council  of  the  Society  of 
Antiquaries  both  the  Lamont  and  the  Queen  Mary  Harps  have  been 
photographed  for  the  purpose  of  illustrating  this  work.  In  arranging 
the  Queen  Mary  Harp  for  that  purpose,  the  writer  placed  the  Harp  in 
such  positions  that  the  exact  form  of  the  instrument  may  be  seen  by 
those  at  a  distance  who  have  no  opportunity  of  examining  the  original. 

1  The  shrine  of  St.  Patrick's  Tooth  was  con-       these  Harps  were  exhibited  at  South  Kensington, 
structed  about  1350.  Upon  no  other  occasion  have  they  been  removed 

^  By  the   special   permission  of   Mr.    Stewart      from  the  Museum. 


THE      LAMONT      HARP. 


Plate  I 


THE    HIGHLAND    HARP  159 


THE    LAMONT   HARP 

This  Harp,  as  it  is  supposed  to  be  of  somewhat  greater  antiquity, 
claims  the  first  attention.  Of  this  instrument,  as  is  usual  among  Celtic 
specimens,  the  box  is  formed  out  of  a  solid  block  of  wood  and  hollowed 
out  from  behind  so  as  to  form  the  sounding-board,  sides  and  ends.  The 
form  is  that  of  a  truncated  triangle,  the  extreme  length  in  front,  exclu- 
sive of  the  projecting  block  but  including  the  collar,  is  30  in.,  and  at  the 
back  30^  in.  At  the  upper  extremity  a  collar  or  neck  rises  upon  either 
side  and  at  the  back,  sloping  inwards  ;  the  height  of  this  collar  is  ^  in.  in 
front  and  rather  more  than  {;  in.  at  the  back,  the  upper  termination 
being  |-  in.  higher  at  the  back  than  at  the  front.  In  the  centre  of  this 
collar  there  is  a  depression  measuring  across  2  in.,  and  in  depth,  both  at 
front  and  back,  about  -^^  in.  This  depression  extends  towards  the  back, 
and  into  it  the  end  of  the  harmonic  curve  was  placed.  The  collar  and 
the  depression  are  both  diagonal  terminations  of  the  box.  A  cavity,  into 
which  the  termination  of  the  harmonic  curve  was  inserted,  occurs  about 
1  in.  from  the  front  and  extends  to  about  f  in.  from  the  back.  The  lower 
extremity  of  the  sounding-board  is  a  straight  line  and  has  the  unusual 
width  of  17  in.  ;  here  the  sounding-board  is  flat,  and  the  remainder  was 
probably  flat  originally  almost  to  the  upper  termination.  The  project- 
ing block  is  4f  in.  long  and  2f  in.  broad  throughout,  the  corners  at  either 
side  of  the  termination  being  well  rounded.  It  may  be  remarked  that, 
from  where  the  projecting  block  leaves  the  box  the  upper  portion 
gradually  slopes  downwards,  the  difference  at  the  termination  being  f  in. 
By  giving  the  projecting  block  this  slope  the  artificer  may  have  anticipated 
the  curvature  along  the  strings,  which  he  must  have  known  would 
eventually  occur  (see  Plate  iv.).  The  depression  into  which  the  fore-pillar 
was  fitted  is  4|-  in.  long  and  1  in.  broad,  the  cavity  into  which  the  termi- 
nation of  the  fore-pillar  was  sunk  and  firmly  secured  by  three  wooden 
pegs  is  f  in.  from  the  upper  extremity  of  the  depression  and  is  about 
|-  in.  broad.  At  the  back  of  the  projecting  block  the  lower  termination 
is  rounded  off". 

The  raised  string-band  is  If  in.  broad,  and  ^  in.  deep.  At  the  lower 
termination  it  ends  in  one  step  upon  either  side ;  here  the  width  is 
2f  in.,  the  steps  are  1^  in.  from  the  extremity  of  the  sounding-board. 


160 


MUSICAL    INSTRUMENTS 


At  the  upper  termination  the  string-band  ends  upon  either  side  in  semi- 
circular curves,  the  commencement  of  the  curves  being  26-|  in.  from 
the  lower  termination  of  the  sounding-board,  and  the  ends  26h  in. 
from  the  lower  extremities  of  the  sides  of  the  box,  the  summit  of 
each  curve  being  27  in.  from  the  termination  of  the  sounding- board. 
The  string-band  is  pierced  for  32  strings;  the  "shoes  of  the  strings," 
or  guards,  with  the  exception  of  one,  are  all  in  their  places.  Twenty- 
six  of  these  are  deserving  of  special  notice ;  they  are  in  high  relief, 
/\  Fig,  I.  r— ,  well-wrought,    and    are   of   ex- 

/\«8i^^^^A.^N,wO       (^L_-y'^ifik.^>w^     ceptionally  fine  form;  they  are 
/  Q^  (w)  ^^03     C  O^  (w)  |-X>  J  believed  to  be  of  brass  ^  (Fig.  i.). 

^     \im\mF^  ^%//"«iii^F      ^     The  remaining  five,  horse- shoe 

<>>*xi  ^  C/\:>  in    form,    terminate    in   quatre- 

foils,  many  of  the  leaves  of  which  have  incised  circles ;  two  of  these 
are    attached   to    the   thirty-first    and   thirty-second    string-holes,    and 
three    to    the    first    three     string  -  holes         ^"^      Fig.  h.        /ss*"™"*^ 
(Fig.  II.).     The  upper  string-holes  gradu-        I l^m\  //w^  J 

ally  approach  the  left  side  of  the  string-     \%o)    (c    °I  f  rs)  (TrD 

band,  so  as  to  allow  the  strings  to  be  ^-'\£J  O'*-^  4^?  ^'VS)  L^i-' 
more  perpendicular  than  they  otherwise  would  be  (see  Plate  iii..  No.  1). 
The  larger  "shoes  of  the  strings"  being  too  broad  and  unsuitable 
for  the  three  first  holes,  the  horse-shoe  form  had  to  be  adopted. 
The  sounding-board  which,  as  already  stated,  was  most  probably  flat 
throughout,  has  been  raised  f  in.  by  the  tension  of  the  strings. 
The  depth  of  the  string-band  is  not  included  in  this  measurement. 
Where  this  convexity  occui's,  an  attempt  has  been  made  to  strengthen 
the  sounding-board ;  the  "  shoes  of  the  strings,"  from  and  including  the 
eighth  to  and  including  the  twenty-second,  were  removed  and  replaced 
over  three  pieces  of  thin  metal.  This  portion  of  the  string-band  has  been 
carefully  examined,  and  there  does  not  appear  to  be  any  crack  or  split 
along  the  string-holes.  The  length  of  the  strings  is  :  first,  2|^  in.  ;  second, 
21-  in.  ;  third,  2f  in. ;  thirty-first,  23f  in.  ;  thirty-second,  24|^  in.  It  must, 
however,  be  remembered  that  on  account  of  the  fractures,  etc.,  the  form 
of  the  instrument  has  changed  considerably  ;  the  length  of  the  strings, 

'  The  reader    may   remark  that  these,  as  also        from  sjilittiug  along  the  string-holes.     The  blocks 
most  of  those   upon  the   Trinity   College    Harp,        (Figs.  i.  and  n.)  are  actual  size. 
are  constructed  so  as  to  prevent  the  string-band 


THE     LAMONT     HARP, 

I      RIGHT      SIDE       QF      THE      TERMINATION        OF      THE        HARMONIC       CURVE       SHOWINB 
THE       METAL      STRAPS,     THE       ENRICHMENT      &c.,       II       THE       FRONT       OF      THE       METAL       ENRICHMENT 


THE   HIGHLAND    HARP  161 

therefore,  when  the  Harp  was  constructed,  would  be  somewhat  different. 
There  are  four  sound-holes,  each  about  1  in.  in  diameter.  The  lower 
sound-holes  are  6f  in.  from  the  lower  termination,  and  2|  in.  from  the 
sides.  The  upper  sound-holes  are  19f  in.  from  the  lower  termination, 
and  l^in.  from  the  sides.^  The  thickness  of  the  sounding-board  at  both 
the  upper  and  lower  sound- holes  is  f  in. 

The  portion  of  the  box  above  the  semicircular  termination  of  the 
string-band  is  very  slightly  convex.     At  the  upper  extremity  it  is  4^  in. 
broad.     Below  the  collar  already  noticed  a  rude  iron  band  1^  in.  broad 
has  been,  at  a  subsequent  period,  placed  round  the   upper  portion  of 
the  box.     It  may   be  remarked  that  this  band,  although  placed  some- 
what diagonally,  is  nearly  perpendicular  to  the  back  of  the  box.      The 
sides  of  the  box  are  4  in.  deep  below  the  semicircular  endings  of  the 
string-band,  and  4^  in.  deep  above.      The    length  of  the    sides  at  the 
front  and  at  the   back,  without  the  collar,  is  30-g^  in.      The  thickness 
of  the    lower    termination    of  the    box  is   about  1   in.  ;    if  there    is  a 
strengthening  tongue  it  is  probably  short.     The  lower  termination  of 
the  back  of  the  box,  unlike  that  of  the  front  or  sounding-board,  is  not 
a  straight  line,  but  slopes  inward  ;  where  the  back  on  either  side  joins 
the  projecting  block  it  is  ^  in.  deeper  than  the  junction  of  the  sound- 
ing-board and  projecting  block.     This  is  not  an  accident ;  the  block  of 
wood  must  have  been  an   exceptionally  fine  one.     The  centre  of  the 
projecting  block  has  at  some  time  been  cut  out,  at  least  as  far  as  the 
board  at  the  back,  and  a  piece  of  new  wood,    1-|  in.   deep  by   If  in. 
broad,  let  in  to  strengthen  it.     This  was  secured  by  two  pegs.     The 
Harp  must  have  been  a  favourite  instrument  and  much  used,  as  the 
angles  formed  by  the  sides  of  the  box  and  the  sounding-board  have 
been  considerably  worn  by  the  friction  of  the  hands  and  wrists.     The 
board  which  is  let  into  the  sides  and  ends  and  forms  the  back  is  modern. 
The  decoration  of  the  box  is  very  simple.     Two  parallel  lines  are 
carried   along   either  side   of  the   string-band,    round    the  steps  along 
each  side  of  the  projecting  block,  and  join  each  other  at  the  termina- 
tion.    These  parallel  lines  are  carried  round  the  semicircular  endings 

'  There    is    a    circle    drawn    by   the   compass       ficer    had    had    some    intention   of    making    six 
between   the   upper  and  lower  sound-holes,   and       sound-holes, 
upon  the  right  side,  which  shows  that  the  arti- 


162  MUSICAL    INSTRUMENTS 

to  the  string-band,  then  along  both  edges  of  the  box,  and  no  doubt 
join  each  other  at  the  upper  extremity  of  the  box,  which  is  now  covered 
by  the  iron  band  (see  Plate  iii.,  Nos.  1  and  2).  Along  and  quite  close 
to  the  angles  formed  by  the  sounding-board  sides  and  lower  termina- 
tion of  the  box,  there  are  single  lines,  and  there  are  single  lines 
round  each  sound-hole.  Along  the  left  side  and  termination  of  the 
box,  and  close  to  the  edges  of  the  sounding-board,  there  are  single  lines. 
If  there  was  a  line  upon  the  right  side  it  has  been  worn  away,  but  a 
line  on  the  right  side  of  the  lower  termination  of  the  box  may  still 
be  seen.     All  these  lines  have  apparently  been  burned  in  by  a  hot  iron. 

The  harmonic  curve  of  this  Harp  is  heavy  but  striking ;  the  heavi- 
ness is  to  a  large  extent  due  to  its  no  longer  joining  the  box,  as  the 
artificer  intended.  The  Highland  hump  already  noticed  is  most 
pronounced.  At  the  back  after  leaving  the  box  the  harmonic  curve 
is  almost  flat,  then  slightly  rounded ;  this  curvature  gradually 
diminishes  and  ends  at  the  hump,  where  it  becomes  sharp,  and  con- 
tinues sharp  up  to  the  bass  termination.  The  angles  of  the  lower 
portion  have  been  removed  or  bevelled.  This  bevelling  at  present  com- 
mences somewhat  behind  the  front  of  the  box  and  follows  a  straight 
line  for  |^  in.  ;  it  then  takes  the  curved  form,  and  terminates  at  the 
junction  of  the  harmonic  curve  and  fore-pillar.  The  width  of  the  lower 
side  of  the  harmonic  curve  is  2  in. ;  where  the  angles  have  been  re- 
moved it  is  If  in.,  the  bevels  being  f  in.  deep.  Above  the  bevelling 
the  sides  are  flat,  the  depth  of  the  flat  surface  for  a  short  distance 
being  1  in.,  while  along  the  curves  it  is  If  in.  To  these  flat  portions 
Fig.  in.  Fio.  iv.  the  bands  pierced  for  the  tuning- pegs  are  attached. 
2j3  P^  These  bands  are  of  brass,  and  each  measures  along  the 
curve  17  in.,  and  is  -^  in.  wide.  They  are  strong  and 
well-ornamented :  that  upon  the  left  side  has  a  series 
of  ovals ;  four  of  these  at  the  treble  termination  are 
blank ;  each  of  the  others  is  pierced  in  the  centre  for  a 
Ol  -^  U  tuning-peg  (see  Plate  III.,  No.  3).  Upon  the  right  side  at 
the  treble  end  what  appears  to  be  S  1 1 1  ^  is  engraved,  after  which  what 
is  known  as  the  "  simple  angular  fret"  is  finely  engraved  along  the  edges 
(see  Plate  in.,  No.  4).     These  bands  form  single  curves  and  are  certainly 

1  The  S  may  be  5. 


THE   LAMONT    HARP 


PLATE    111. 


No.  1.    Upper  portion  of  the  bo.x,  showing  the  termination  of  the  raised  string  band. 

No.  2.   Lower  tennination  of  the  raised  string  band. 

No.  3.   Treble  end  of  the  brass  band  through  which  the  tuning-pegs  pass— left  side.        No.  i.  Do.  —  right  side. 

No.  5.   Ornamentation  beneath  the  lower  termination  of  the  brass  cap  or  enrichment. 


THE   HIGHLAND    HARP  163 

original.  Most  of  the  tuning-pegs  are  in  their  places.  Some  are  com- 
paratively modern  and  are  plain,  but  the  greater  number  are  old  and  show 
two  forms  of  ornamentation;  four  of  these  are  as  shown  in  Fig.  iii.,  the 
others  as  in  Fig.  iv.'     They  are  about  4^  in.  in  length. 

The  end  of  the  harmonic  curve  is  covered  with  a  brass  enrichment. 
The  engraving  of  the  sides  and  end  was  executed  by  some  person  who 
had  measurements  but  had  not  the  Harp  before  him  ;  consequently  when 
the  cap  came  to  be  fitted  the  end  was  found  to  be  too  deep,  so  had  to  be 
cut  in  two  places  (see  Plate  iii..  No.  5).  The  portion  between  the  two 
incisions  was  then  bent  forward  so  as  to  fit  over  the  front  of  the  fore- 
pillar  (see  Plate  ii.).  This  has  been  rudely  and  carelessly  done,  and  the 
ornamentation  has  been  injured.  The  metal  enrichment  is  well  designed 
and  executed.  The  sides  and  end  show  interlaced  patterns  engraved  ;  and 
the  front,  which  may  be  described  as  a  parallelogram  surmounted  by  a 
triangle,  has  in  the  centre  a  representation  in  brass  of  a  crystal  cabuchon 
cut  with  foliaceous  patterns  both  above  and  below.  This  face  is  sur- 
mounted by  a  border  or  frame,  which  is  secured  by  three  nails  which  have 
ornamented  heads.  Upon  the  outside  the  frame  has  a  rope  moulding 
from  the  upper  extremity  as  far  as  the  interlaced  patterns  upon  the  sides 
extend,  then  the  strands  of  the  ropes  are  reversed,  and  along  the  three 
sides  of  the  parallelogram  the  form  is  altogether  different.  Here  the 
ornamentation,  which  is  principally  upon  the  inner  side,  consists  of  a 
series  of  depressions,  three  on  each  side  and  nine  at  the  lower  termination. 
This  termination,  which  was  originally  a  straight  line,  has  been  forced 
to  curve  inwards  and  cover  some  of  the  floral  ornamentation  of  the 
face,  a  portion  of  which  may  be  seen  below  and  outside  the  frame  (see 
Plate  II.).  The  cap  with  frame  is  5f  in.  long,  and  with  the  frame  is  2  j^^  in. 
wide  at  the  lower  extremity ;  the  length  at  the  sides  is  5-|  in.  without 
the  frame,  and  with  the  frame  6  in.  ;  the  depth  of  the  sides  without  the 
frame  is  j-'i  iii-  ;  the  height  of  the  frame  above  the  sides  is  ^  in. 

It  is  probable  that  not  long  after  the  Harp  was  constructed  the  tension 
of  the  strings  began  to  draw  the  harmonic  curve  towards  the  left,  and 
to  resist  the  strain  two  brass  straps  were  constructed.  These  were  firmly 
attached  to  the  harmonic  curve  and  fore-pillar  each  by  four  nails  with 
broad  and  rounded  heads.     The  ends  of  some  of  these  nails  were  firmly 

'  The  illustrations  are  actual  size.     Both  forms  are  to  be  met  with  upon  Irish  specimens. 


164  MUSICAL    INSTRUMENTS 

clamped  upon  the  opposite  side.  These  straps  are  7f  in.  long  and  f  in. 
broad  in  the  centre,  tapering  to  x^^  in.  at  the  upper  end  and  ^  in.  at  the 
lower  termination.  The  upper  extremities  of  both  are  leaf-shaped  ;  along 
the  side  of  the  harmonic  curve  upon  both  there  appears  to  be  angular  fret 
decoration  until  they  meet  and  cross  the  band  for  the  tuning-pegs,  where 
they  are  engraved  in  diagonal  lines  ;  then  parallel  lines  close  together 
cross  the  straps.  Between  the  band  for  the  tuning-pegs  and  the  lower 
portion  of  the  harmonic  curve  the  ornamentation  upon  both  is  distinct. 
Upon  that  nearer  to  the  bass  there  is  an  interlaced  pattern,  and  upon 
that  nearer  to  the  treble  a  foliaceous  pattern.  Each  strap  has  some  slight 
ornamentation  where  it  bends  before  joining  the  fore-pillar,  after  which 
foliaceous  patterns  occur  upon  both  ;  and  in  each  case  the  termination 
is  a  dragonesque  head  (see  Plate  ii.). 

At  an  early  period  a  bad  crack,  caused  by  the  tension  of  the  strings, 
appeared  at  the  hole  ^  for  the  first  tuning-peg  ;  and  to  prevent  it  from  ex- 
tending, the  harmonic  curve  and  the  fore-pillar  were  removed  from  the  box, 
a  strong  strap  of  iron  sunk  in  the  wood  at  the  under  side  of  the  harmonic 
curve,  and  a  small  thin  brass  band  placed  over  it  and  nailed  at  either 
side  of  the  ci'ack.  At  the  same  period  a  thin  brass  band  was  attached 
upon  the  right  side,  above  the  crack,  passed  under  the  brass  bands  for  the 
tuning-pegs,  and  beneath  the  harmonic  curve,  and  attached  to  the 
opposite  or  left  side,  well  above  the  fracture.  This  band  is  ornamented 
throughout  (see  Plate  m.,  Nos.  3  and  4).  A  small  band  was  also  attached 
both  above  and  below  the  crack.  There  is  no  line  decoration  upon  the 
harmonic  curve.  The  following  are  some  of  the  measurements  of  this 
portion  of  the  instrument.  The  depth  at  the  commencement  of  the 
flange  near  the  box  is  4  in.,  at  the  hump  5|-  in.,  at  the  curve  below  the 
hump  4|-  in.,  at  the  end  of  the  flange  4|-  in.,  at  the  extreme  bass  termi- 
nation without  the  mounting  5-g-  in.  From  the  back  where  it  leaves  the 
box  to  the  hump  9^  in.,  from  the  back  to  the  head  of  the  nail  at  the  apex 
of  the  triangular  enrichment  18|^  in.,  from  the  back  to  the  lower 
termination  of  the  enrichment  20|^  in.  An  examination  of  the  harmonic 
curve  shows  that  the  tension  of  the  strings  has  warped  or  twisted  it,  as 
the  apex  of  the  triangular  setting  leans  about  ^  in.  towards  the  left. 

^  This  hole  could  uot  have  been  afterwards  used,  and  it  is  possible  the  hole  for  the  second  tuning- 
peg  was  also  useless. 


THE    HIGHLAND    HARP  165 

The  fore-pillar  is  considerably  curved.  The  artificer  understood  the 
form,  but  was  apparently  unaware  of  the  object,  of  the  T  formation,  before 
referred  to  ;  so  he  treated  it  as  a  decoration  and  placed  it  at  much  too 
great  a  length  from  either  extremity  (see  Plate  i.),  with  the  result  that 
the  fore-pillar  was  unable  to  withstand  the  strain  to  the  left,  and  a  bad 
fracture  occurred  below,  and  a  slight  crack  appeared  above,  the  T  forma- 
tion/ The  Harp  must  have  been  a  highly  prized  instrument,  for  in 
place  of  providing  another  fore-pillar,  an  attempt  was  made  to  supply  a 
new  termination  to  the  broken  fore-pillar.  Here,  again,  the  artisan  was  at 
fault.  Had  he  known  that  the  tension  of  the  strings  tended  to  shorten  the 
fore-pillar,  he  would  probably  have  placed  broad  plates  upon  either  side  ; 
he  did  not  do  so,  but  placed  two  straps — one  upon  either  side.  What 
might  have  been  anticipated  occurred  :  the  fore-pillar  was  shortened,  and 
there  was  another  hopelessly  bad  fracture.  Where  the  fore-pillar  joins 
the  harmonic  curve  the  lines  are  no  longer  parallel,  specially  upon  the 
right  side  ;  this  is  usually  an  indication  that  the  fore-pillar  has  been 
shortened.  The  writer  has  taken  some  trouble  to  ascertain  whether  the 
curvature  of  the  upper  or  original  portion  of  the  fore-pillar  has  been 
increased;  so,  allowing  that  the  shortening  may  have  been  ^  in.,  when 
preparing  the  diagram  (Plate  iv.),  he  continued  the  curve  of  the  upper 
portion  and  then  lengthened  the  fore-pillar  ^  in.  at  either  end.  It  was 
then  found  that,  with  the  curve  which  the  lengthened  fore-pillar  then 
showed,  the  fore-pillar  would  not  fit,  whereas  when  the  present  curve  of 
the  upper  portion  was  continued  the  fore-pillar  fitted  ;  it  may  therefore  be 
concluded  that  the  upper  portion  has  not  been  shortened.  It  is  evident 
that,  after  the  fore-pillar  was  spliced,  it  was  no  longer  able  to  withstand 
the  direct  tension  of  the  strings,  and  that  the  straps  connecting  the 
fractured  portions  became  hinges,  as  it  were,  and  consequently  the  fore- 
pillar  was  shortened.  It  may  be  remarked  that  the  straps  binding  the 
harmonic  curve  and  fore-pillar  are  securely  fastened  to  the  harmonic 
curve  each  by  two  nails  and  by  a  tuning-peg,  consequently  they  could 
not  be  moved ;  but  where  they  are  attached  to  the  fore-pillar  the  wood  is 
much  thinner  and  was  probably  somewhat  decayed.  So  when  the  last 
breakage  occurred  and  the  fore-piUar  was  shortened,  the  holes  became 

'   The  writer  does  not  see  auj'  reason  for  sapposing  that  the  upper  portion  of  the  fore-pillar  is  not 
original. 


166  MUSICAL    INSTEUMENTS 

enlarged,  and  the  back  of  the  fore-pillar  was  forced  from  the  harmonic 
curve  about  ^  in.  upon  the  right  side  and  somewhat  less  upon  the  left 
side. 

The  following  are  the  measurements  of  the  fore-pillar.  The  cavity  in 
the  harmonic  curve,  into  which  the  upper  extremity  is  inserted,  is 
3|-  in.  long  and  1  in.  wide  ;  the  fore-pillar  at  this  extremity  is  in  front 
1  j3.  in.  wide,  at  the  back  {-^  in.,  the  depth  being  3^  in.  Six  inches  from 
the  upper  termination,  where  the  T  formation  commences,  it  is  1:^  in.  in 
front  and  1  in.  at  the  back.  The  extreme  length  of  the  T  along  the 
outer  curve  is  19  in.,  the  width  at  6  in.  is  S^  in.,  at  the  centre  3|-  in., 
at  12  in.  S^  in.  The  vertical  depth  of  the  T  at  the  centre  is 
^  in.,  the  flange  1  in.,  depth  from  the  flange  to  the  back  2|-  in.  The 
width  of  the  back  of  the  fore-pillar  where  the  fracture  occurred  is  1  in., 
the  depth  below  the  fracture  3f  in.  The  outside  curve  of  the  remains 
of  the  fore-pillar  and  the  addition  is  32f  in.  In  front  and  in  the  centre  of 
the  T  formation  there  are  two  concentric  circles.  These  may  not  be  part 
of  the  original  ornamentation  of  the  Harp,  as  they  are  not  shown  by 
burned  lines.  The  outer  circle  is  13yg^  in.  from  the  upper  extremity. 
The  inner  circle  is  13^  in.  from  the  upper  extremity.  The  diameter  of 
the  outer  circle  is  2f  in.  ;  that  of  the  inner  circle  is  l^  in. 

Either  at  the  time  the  fractured  fore-pillar  was  spliced,  or  at  a 
subsequent  period,  the  treble  termination  of  the  harmonic  curve  was 
removed  from  the  depression  in  the  upper  portion  of  the  box,  and  a 
wedge-shaped  piece  of  wood  placed  under  the  left  side ;  and,  when  so 
raised,  the  harmonic  curve  was  forced  out  of  the  cavity  and  back  so  as 
to  allow  of  the  rude  iron  strap  which  now  binds  it  to  the  box  being 
attached,^  thus  causing  a  most  unsightly  alteration  in  the  form  of  the 
instrument.  At  present  the  harmonic  curve  is  tilted  downwards  and 
towards  the  left  to  such  an  extent  that  the  metal  enrichment,  in  place 
of  being  directly  over,  is  now  2|-  in.  to  the  left  of,  the  string-band. 

As  the  Harp  is  now  so  distorted,  it  is  impossible  by  a  single  photo- 
graph to  give  a  representation  of  what  it  was  originally,  but  the  writer 
has  endeavoured  to  give  a  probable  representation  by  tracing  portions  of 
two  separate  photographs,  and  placing  them  as  they  most  probably  were 
originally   (see  Plate  iv.).      Another  indignity   this  ancient  Harp  has 

'  At  the  back  the  collar  has  been  somewhat  cut  down. 


THE    HIGHLAND    HARP  167 

been  subjected  to  should  be  noticed.  Some  former  possessor,  apparently 
disliking  the  appearance  of  the  bright  metal,  had  all  the  mountings 
painted  a  deep  brownish  red.  Most  of  this  was  afterwards  removed 
from  the  cap  and  straps,  but  much  of  the  bands  for  the  tuning- pegs, 
the  tuning-pegs,  and  the  finely  designed  "  shoes  of  the  strings,"  are  so 
coated  with  paint  that  the  form  is  somewhat  indistinct,  and  even  the 
metal  used  for  the  construction  of  the  last-mentioned  is  nowhere 
distinguishable. ' 

The  writer  has  not  been  able  to  ascertain  the  exact  weight  of  the 
Lamont  Harp,  but  if  Mr.  Gunn  is  correct  in  stating  that  it  is  nearly 
twice  the  weight  of  the  Queen  Mary  Harp,  it  must  weigh  somewhat  less 
than  24  lbs.  The  Harp  is  a  rich  mahogany  colour,  and  has  perhaps  been 
stained.  The  box,  were  it  not  worm-eaten,  would  now  be  serviceable. 
The  harmonic  curve  and  fore-pillar  are,  according  to  Mr.  Gunn,  of 
plane  tree. 

As  Mr.  Gunn'a  Enquiry  may  still  be  met  with,  it  is  desirable  to  notice 
some  statements  that  may  be  found  in  that  work.  Firstly,  Mr.  Gunn 
supposed  that  the  harmonic  curve  (which,  as  already  stated,  leans  so 
much  towards  the  left  that  the  metal  enrichment  is  2|  in.  to  the  left 
of  the  string-band)  was  so  arranged  "  in  order  to  leave  a  greater  opening 
for  the  voice  of  the  performer  to  extend  more  freely,  in  all  directions,  to 
his  audience,  and  that  it  might  be  obstructed  as  little  as  possible  by  the 
front-arm  of  the  instrument "  !  Secondly,  Mr.  Gunn  failed  to  notice  the 
serious  crack  in  the  harmonic  curve  which  rendered  the  first  and  perhaps 
the  second  peg-hole  useless,  and  concluded  that  the  instrument  had 
originally  been  intended  to  be  strung  with  30  strings  only.  And  lastly, 
Mr.  Gunn  supposed  that  all  the  string-holes  had  been  furnished  with 
"  shoes  of  the  strings  "  of  the  horse-shoe  form,  and  that  these  with  the 
exception  of  five  had  been  worn  out  and  had  been  replaced  by  others  of 
a  different  form  ;  whereas  those  of  the  horse-shoe  form  were  placed  over 
the  first  three  holes,  as  the  other  "  shoes  of  the  strings,"  on  account  of 
their  size,  could  not  be  used;  and  those  over  the  31st  and  32nd  string- 
holes  were  placed  there  probably  because  a  sufiicient  number  of  the 
larger  and  finer  form  had  not  been  obtained  from  the  artificer. 

Two  illustrations  of  this  Harp  may  be  found  in  An  Enquiry,  etc.,  by 

'  Mr.  Bell  states  that  they  are  of  brass. 


168  MUSICAL    INSTEUMENTS 

John  Gunn.  There  are  also  iUustrations  in  the  Proceedings  of  the  Society 
of  Antiquaries ;  in  Musical  Instruments,  by  Hipkins  and  Gibb ;  in 
Drummond's  Scottish  Weapons  ;  and  in  the  Book  of  the  True  High- 
lander. In  the  last-mentioned,  the  Harp  is  represented  with  a  highly 
ornamented  and  improbable  fore-pillar. 

THE    "QUEEN   MARY "    HARP 

The  box  of  this  instrument,  which  is  in  the  form  of  a  truncated 
triangle,  curved  at  either  side,  at  the  upper  extremity,  and  at  the  back, 
is  hollowed  out  of  a  solid  piece  of  wood.  At  the  lower  extremity  the 
box  terminates  upon  either  side  of  the  projecting  block  in  straight 
lines.  The  raised  string-band  ends  upon  either  side  at  the  upper 
extremity  in  semicircular  curves ;  the  width  of  the  upper  portion  of 
the  string-band  is  1^''^  in.,  while  at  the  lower  termination  it  is  l^J  in., 
the  depth  throughout  being  ■§•  in.  At  the  lower  extremity  it  is  without 
steps,  and  is  the  commencement  of  the  projecting  block.  The  string- 
band  is  pierced  with  twenty-nine  string-holes.  All  but  two  of  the  "  shoes 
of  the  strings  "  are  in  their  places.  They  are  of  three  varieties,  two 
being  simply  horse-shoe  in  form  with  flattened  terminations  pierced  for 
nails  (Fig.  i.).  Six  are  similar,  but  with  flattened  terminations  turned 
Fio.  I.  Fio.  II.  Fio.  III.  outwards     and    pierced     for 

nails  (Fig.  ii.);    while  nine- 


teen   of    a   stronger     make, 
which  are   decorated   in    in- 


cised diagonal  lines,  have  the  terminations  bent  backwards  at  right 
angles  and  sharpened  so  as  to  act  as  nails  (Fig.  iii.).^  Above  the  string- 
band  the  termination  of  the  box  is  curved  upon  either  side  and  slightly 
convex  across.  The  sounding-board  at  the  lower  extremity,  although 
flat  upon  either  side,  slopes  from  the  string-band  towards  the  sides, 
where  it  is  rather  less  than  ^  in.  lower  than  at  the  centre.  The  sound- 
ing-board, in  fact,  has  the  form  of  an  obtuse  angle.  There  are  four 
sound-holes  ;  the  two  uppermost  are  about  f  in.  in  diameter,  the  lower 
two  about  ]^  in.  in  diameter.     The  thickness  of  the  sounding-board  at 

1  The  illustratious  are  actual  size.  It  may  be  the  string-band  are  a  source  of  weakness  wlien 
remarked  that  these  "  shoes  of  the  strings,"  being  the  string-holes  are  as  large  as  they  are  upon  the 
of  the  horse-shoe  form,  so  far  from  strengthening       Celtic  specimens. 


THE'qUEEN      MARY"  HARP 


Plare   I. 


THE    HIGHLAND    HAEP  169 

the  upper  sound-holes  is  ^  in.,  at  the  lower  sound-holes  ^^  in.  There 
is  at  the  lower  termination  of  the  box,  independent  of  the  continuation 
of  the  string-band,  a  short  projecting  block  ^  in.  long  and  ^f  in.  wide, 
upon  the  right  side,  and  j-V  "i-  wide  upon  the  left  side,  which  in  front 
measures  2f  in.  across,  and  at  the  back  2^^-  in.  The  string-band  before 
it  leaves  the  box  is  1|-J  in.  across,  while  at  the  extremity  where  it  is 
curved  it  is  l^g  in.  Here  there  is  a  depression  into  which  the  fore-pillar 
was  placed  ;  this  is  about  3f  in.  long  ;  next  the  sounding-board  it  is  1^ 
in.  across,  and  at  the  lower  termination  1|^  in.  This  depression  is  -^  in. 
deep.  Within  it  there  is  a  cavity  into  which  the  termination  of  the  fore- 
pillar  fitted.  This  cavity  is  }  j^  in.  from  the  upper  extremity  of  the 
depression,  and  is  j  in.  in  width  and  2^  in.  in  length.  It  may  be 
remarked  that  the  junction  of  the  sounding-board  and  the  end  of  the 
box  is  rather  more  than  a  right  angle  ;  the  back  of  the  box,  in  fact,  pro- 
trudes about  |-  in.  at  the  sides  of  the  projecting  block  and  ^  in.  at  either 
extremity.  The  length  of  the  box  without  either  projection  is  25^  in. 
The  width  at  the  upper  extremity  before  it  curves  is  4^  in.,  and  at  the 
lower  termination  11x6  in.  (see  Plate  vi.).' 

For  the  greater  portion  the  sides  of  the  box  are  4  in.  deep,  but  above 
the  termination  of  the  semicircular  endings  to  the  string-band  they  are 
4^  in.  The  sides  at  the  upper  extremity  are  semicircular,  from  which 
to  the  lower  termination  the  length  is  25|-  in.  Above  the  semicircular 
termination  the  surface  is  curved  towards  the  junction  of  the  harmonic 
curve.  All  the  curved  surface  has  been  removed,  leaving  a  beaded  edge 
along  the  termination  of  the  front  of  the  box  and  of  the  sides.  This 
beaded  edge  may  have  extended  across  the  curved  termination  of  the 
back.  It  is  now  not  visible,  but  as  the  upper  portion  of  the  ornamentation 
is  carried  round  the  back,  it  is  probable  that  the  beaded  edge  and  the 
lower  portion  of  the  ornamentation  was  also  continued,  as  indicated  by 
dotted  lines  upon  Plate  vii.  No.  1 .  The  upper  portion  of  the  back  is  curved 
so  as  to  meet  the  harmonic  curve.  Surrounding  the  oval  space  reserved  for 
the  junction  of  the  box  and  harmonic  curve  there  is  a  very  neatly  carved 
bead."    This  oval  space,  when  examined  from  the  side,  will  be  found  to  have 

'  The  measurements  are  from  the  Harp,  but  the  ^  This  bead  does  not  cross  the  front  of  the  box, 

outlines  shown  upon  Plate  vi.  are  the  continuations  but  commences  at  the  shoulders,  where  it  is  ^  in. 

of  the  sides  and  lower  termination,  and  may  be  high,  while  at  the  back  it  is  |  in.  high, 
different,  as  portions  of  the  edges  are  worn  away. 


170  MUSICAL    INSTEUMENTS 

a  diagonal  inclination.^  Within  this  oval  space  there  is  a  depression  into 
which  the  end  of  the  harmonic  curve  is  placed.  The  depth  of  this  depres- 
sion near  the  front  is  -^^^  in.,  and  near  the  back  about  ^  in.  The  length  of 
the  back  of  the  box  measured  along  the  curve  formed  by  the  back  of  the 
shoulders  is  27^  in.,  but  in  a  straight  line  it  is  27  in.  The  board  closing 
the  cavity  at  the  back  received  from  the  artificer  as  much  attention  as  the 
other  portions  of  the  box.  At  the  upper  extremity  it  is  battlemented  in 
form^  (see  Plate  vii..  No.  l),  the  box  portion  being  undercut ;  the  board, 
which  is  |-  in.  thick,  was  simply  slipped  in  and  retained  in  position  by  a 
few  pegs  or  nails  at  the  lower  termination,  where  as  well  as  at  the  sides 
there  is  a  rebate.  The  back,  although  flat  for  the  most  part,  is  slightly 
convex  at  the  lower  termination  (see  Plate  vii.).  This  curvature  has 
evidently  not  been  caused  by  friction.  At  the  sides  of  the  box  the 
thickness  is  f  in.,  and  internally  the  depth  at  the  centre  is  3f  in.  and 
at  the  lower  termination  S^  in.  ;  the  thickness  at  the  lower  extremity 
being  1^  in.  If  there  is  a  strengthening  tongue  it  cannot  be  of  any 
considerable  length.  From  the  termination  of  the  projecting  block  to 
the  upper  extremity  of  the  box  the  length  is  28|-  in.  The  sides  of  the 
box  of  this  Harp  are  much  worn  by  the  friction  of  the  hands  and  wrists 
of  the  performers. 

The  harmonic  curve  is  most  gracefully  formed.^  Where  it  leaves 
the  box  the  section  is  oval,  then  it  is  pear-shaped,  and,  further  on,  the 
upper  portion  becomes  nearly  sharp.  Here  there  is  a  most  graceful 
Highland  hump,  from  which  to  the  bass  termination  the  sharpness  of 
the  upper  portion  continues.  Along  the  sides  and  following  the  curves 
there  is  a  delicately  carved  bead.  At  some  distance  from  the  junction 
of  the  harmonic  curve  and  box  this  bead  takes  a  downward  curve  and  is 
continued  underneath,  where  the  beads  on  either  side  meet,  the  junction 
being  in  the  form  of  a  A,  the  apex  being  2§  in.  from  the  box,  measuring 
along  the  curve.  The  sides  of  the  harmonic  curve  below  the  beads 
are  flat.      Here   brass  bands,  pierced  for  twenty-nine  tuning-pegs,  are 

'  The  length  of  this  diagonal  inclination  is  ,SJ  semicircular  terminations   of    the    raised   string- 
in.    The  angle  formed  by  it,  with  measurements,  band. 

may  be  seen  upon  the  illustration,  Plate  v.  ^  The    correct    form    will    be    seen    from   the 

photogravure  plates.      The  diagrams  (Plate  viii.) 

2  The  highest  portions  being  23|  in.,  and  the  are  from  rubbings  and  tracings,  and  are  intended 

lowest  portion  22 1';.  in.  from  the  lower  end  of  the  to  show  the  ornamentation,  and  as  far  as  possible 

box  ;    the    terminations    corresponding  with   the  the  exact  place  where  it  occurs. 


0) 

-f-H 


THE    HIGHLAND    HAEP  171 

placed.  They  are  thin  and  are  attached  by  an  unusual  number  of 
small  nails,  there  being  sixteen  holes  above  and  seventeen  and  eighteen 
below.  These  bands  form  single  curves,  and  measure  along  the  curves 
13|^  in.,  and  are  f  in.  wide.  They  have  for  ornament  two  parallel 
incised  lines  running  above  and  below  the  tuning-pegs  and  round  the 
treble  and  baas  tei'minations.  Below  these  metal  bands  the  surface  of 
the  wood  has  been  slightly  removed,  although  the  flat  form  is  still  con- 
tinued. Underneath,  from  the  A  to  near  the  bass,  the  harmonic  curve  is 
convex  ;  this  curvature  gradually  diminishes,  and  the  surface  eventually 
becomes  flat.  Towards  the  termination  there  is  a  depression  Sw  in.  long. 
If  in.  wide  in  front,  and  Ijlj  in.  wide  at  the  back,  and  ^  in.  deep,  for  the 
reception  of  the  fore-pillar.^  The  termination  of  the  harmonic  curve  at  the 
bass  is  in  form  a  parallelogram  surmounted  by  an  acute  angle,  which  is 
the  sectional  form  between  the  bass  and  the  Highland  hump.  The  brass 
tuning-pegs  are  unlike  those  upon  other  examples.  They  are  about  3  in. 
in  length ;  the  diameter  of  the  circular  portion  is  at  the  string  end  more 
than  ^  in.,  and  at  the  thickest  end  ^  in.  Some,  not  all,  have  two  circles 
incised  about  f  in.  from  the  tuning  end.  The  section  of  the  portions 
made  to  fit  the  tuning-key  will  be  found  in  every  case  to  be  oblong. 
Many  of  the  oblong  terminations  have  double  lines  crossing  each  other, 
thus  forming  four  crosses,  while  each  of  the  original  tuning-pegs  Fig.  iv. 
has  a  single  cross  incised  upon  the  termination  of  the  string  '33#@ 
end  (Fig.  iv.).  At  a  subsequent  and  much  later  period,  when  an 
additional  bass  string  was  required,  a  thicker  and  shorter  tuning-peg  of 
iron  was  added  beneath  the  peg-band.  It  may  be  remarked  that  the 
termination  upon  the  tuning  end  is  in  this  case  square,  and  as  it  did 
not  fit  the  key  it  is  much  worn.  Here  upon  the  termination  there 
are  two  incised  lines  from  the  angles  which  form  a  cross,  perhaps 
added  for  uniformity.  The  string  end  of  this  peg  is  split.^  The  shortest 
string  measures  3  in.,  the  twenty-ninth  string  is  24;^^  in.,  the  thirtieth 
or  additional  string  2i^^  in. 

1  Within  this  depression  there  is  a  cavity  into  aJditiou.      Pegs  with  split  terminations  may  be 

which  the  end  of  the  fore-pillar  is  inserted.     As  seen  upon  Welsh  and  French  Harps. 
it  is   not  visible,  the  dimensions  have   not  been  Besides  the  additional  peg  referred  to,  there  are 

ascertained.  others  of  iron   which    were   most  probably  siip- 

-  The  writer  does  not   know  of  any   Irish   or  plied    by   Messrs.   Gunu   and   Elouis.      Three    of 

Highland  Harps  upon  which  pegs  so  formed  are  to  these   have  holes  for  strings,  and  five  have  split 

be  found.     The  one  described  is  certainly  a  late  terminations. 


172  MUSICAL    INSTKUMENTS 

The  fore-pillar  is  most  reraarkable.  At  either  extremity  of  the  T 
formation  there  are  beautifully  executed  representations  of  reptiles' 
heads.  Both  of  these  show  what  may  be  called  protruding  lips  some- 
what pointed  in  front,  from  which  the  lips  gradually  diminish  in  width, 
the  sections  for  some  distance  being  more  or  less  concave.  They 
become  flat  when  carried  along  the  back  of  the  T  formation  (see  Plate  ix.). 
This  flat  ribbon  will  be  hereafter  noticed  when  the  decoration  is 
described.  What  may  be  called  the  snouts  are  in  both  cases  above 
the  lips.  These,  which  are  also  pointed  in  front,  are  carried  along 
either  side  of  the  heads,  and  end  in  points  at  the  back  of  the  eyes. 
The  sections  of  these  parts  are  also  more  or  less  concave.  Along  the 
centre  of  the  upper  portion  of  the  heads  (which  are  slightly  curved 
along  the  profile)  there  are  flattened  beads,  and  upon  either  side  are 
eyes,  the  balls  of  which  are  most  prominent  and  have  deep  marks  in 
the  centre.  Above  and  at  the  back  of  the  eyes  the  spaces  are  concave. 
For  representations  of  these  heads,  actual  size,  see  Plate  iv. 

From  the  projecting  block  to  the  reptile's  head  there  is  a  flattened 
bead  along  the  centre  ;  near  to  the  projecting  block  these  portions  slope 
slightly  from  the  bead  to  the  sides,  while  near  to  the  reptile's  head 
they  curve  considerably  upon  either  side  of  the  bead,  and  here  the 
edges  will  be  found  to  be  rounded  off,  probably  by  the  friction  caused  by 
the  hand  when  moving  the  instrument.  From  the  harmonic  curve  to 
the  other  reptile's  head  there  is  also  a  flattened  bead  along  the  centre ; 
near  to  the  harmonic  curve  this  portion  of  the  fore-pillar  is  very  slightly 
convex  ;  near  to  the  reptile's  head  it  slopes  considerably  from  the  bead 
to  the  sides,  while  at  the  centre  it  is  flat.  This  portion  of  the  pillar  has 
not  been  subjected  to  much  friction,  and  is  little  worn.  The  T  formation^ 
is  curved  in  front  and  at  the  sides,  so  the  term  flange  cannot  be  used 
when  describing  the  back.  Along  the  centre  of  the  T  formation  there 
is  a  flattened  bead,  which  will  be  hereafter  noticed.  At  present,  the  arc 
formed  by  the  back  of  the  fore-pillar  is  at  its  highest  4  jig-  in.  from  the 
plane.  The  back  of  the  fore-pillar  is  concave  across  its  entire  length. 
The  outside  curve  measures  30  in.,  the  inside  curve  24§  or  24^  in. 

It  is  clear  that  while  the  work  of  the  fore-pillar  was  in  progress  a 

•  Mr.   Bell  could  not  have  been  aware  of  the  object  of  the  T  formation  when  he  referred  to  it 
as  "  a  convenient  bold  for  the  hand  "  ! 


< 


>- 
or 


THE    HIGHLAND    HAEP  173 

defect  was  discovered  in  the  wood  at  the  angle  formed  by  the  back  and 
the  left  side.  The  defective  portion  was  removed,  and  a  fresh  piece 
inserted.  At  a  later  period  this  must  have  become  loose,  and  glue  or 
some  species  of  cement  was  applied  to  keep  it  in  its  place,  but  without 
effect.  It  is  now  missing.  The  artist  who  designed  this  Harp  had 
unquestionably  great  artistic  feeling,  and  the  work  of  the  artificer  who 
constructed  the  instrument  could  scarcely  be  surpassed.  The  three 
portions  of  the  Harp  were  kept  together  by  the  tension  of  the  strings 
alone. 

It  would  appear  that  the  decorator  had  a  cei'tain  number  of  designs 
ready  prepared,  which  he  occasionally  but  rarely  varied.  The  design  for 
the  ornamentation  of  the  sounding-board  was  first  indicated  by  him  with 
the  greatest  accuracy.  Some  of  these  lines  are  still  visible.  This  design 
shows  at  the  centre  at  either  side  crosses  enclosed  within  circles,  and  at 
the  lower  extremity  upon  either  side  the  oi'namentation  terminates  in 
Latin  crosses.  The  designs  upon  both  sides  of  the  sounding-board  are 
precisely  the  same,  and  are  shown  by  fine  but  deeply  burned  lines. 
A  burned  line  runs  along  the  lower  termination  at  either  side,  and  it  is 
evident  there  has  been  a  burned  line  upon  either  side  of  the  sounding- 
board,  as  a  portion  upon  the  left  side  may  still  be  seen,  and  the  com- 
mencement of  the  line  at  the  semicircle  upon  the  right  side  is  visible.^ 
Upon  the  raised  string-band  there  are  burned  lines  commencing  at  the 
first  incised  lines  at  the  semicircular  terminations  ;  these  are  carried  along 
the  sides  and  are  |-  in.  from  the  edges,  and  cross  the  string-band  at  the 
lower  termination  -^  in.  from  the  depression.  Above  the  semicircular 
curves  of  the  string-band  there  is  a  very  beautiful  foliaceous  pattern 
shown  by  depressions  and  incised  lines.  The  two  sides  of  the  box  have 
the  same  design  slightly  varied  at  the  semicircular  endings ;  the  Lines 
and  curves  are  all  burned  in  (see  Plate  vi.).'  If  the  reader  will  again 
examine  the  representation  of  the  Harp  upon  the  stone  at  Keills  (p.  155), 
he  will  find  the  ornamentation  to  be  similar  in  character  to  that  upon 
the  sides  of  the  box  of  the  "  Queen  Mary  "  Harp.      Above  the  senii- 

1  It  was  evidently  the  intention  of  the  artificer  -  Upon   the    right  side   there   are    traces   of  a 

to  surround  each  sound-hole  with  a  burned  line,  burned  line  along  the  angle  formed  by  the  side 
but  this  he  only  carried  out  in  the  case  of  the  and  the  sounding-board.  The  other  angles  are  so 
lower  sound-hole  upon  the  left  side.  worn   that  the   lines,  which  probably  ran  along 

them  also,  are  not  visible. 


174  MUSICAL    INSTEUMENTS 

circular  terminations  of  the  sides  are  what  may  be  called  the  shoulders  ; 
the  designs  upon  both  shoulders  are  the  same,  double  lines  connecting 
semicircles  within  which  are  small  single  circles.  The  upper  portions  of 
these  extend  round  the  back,  and  are  shown  by  burned  lines  (see  Plate  vi.). 
The  lower  end  of  the  box  is  also  ornamented  in  burned  double  lines, 
curves,  etc.,  besides  which  there  has  evidently  been  a  surrounding  line 
near  to  the  angles  formed  by  the  sounding-board  sides  and  back,  the 
first  mentioned  being  still  visible  (see  Plate  vii.).  The  back,  a  portion  of 
the  Harp  which  probably  as  a  rule  received  but  scant  attention,  was  no 
doubt  also  largely  decorated  in  a  similar  manner.  Straight  lines  and 
two  small  circles  with  double  semicircles  are  still  visible  at  either  side, 
the  centres  of  both  of  the  latter  being  9f  in.  from  the  lower  termina- 
tion of  the  box  (see  Plate  vri.).  The  projecting  block  was  carved  to 
represent  the  head  of  a  hound  facing  downwards ;  the  falling  ears 
upon  either  side  are  in  relief;  a  portion  of  one  eye,  shown  by  incised 
lines,  is  still  visible  upon  the  right  side ;  and  the  open  mouth  and  teeth, 
shown  in  relief  and  by  incised  lines,  are  distinct  upon  both  sides  of  the 
block  (see  Plate  vii.). 

Running  along  the  lower  edges  of  the  sides  of  the  harmonic  curve, 
from  the  bead  to  the  bass  termination,  there  are  incised  lines.  These 
were  carried  along  the  edge  of  the  termination.  There  are  also  incised 
lines  upon  either  side,  along  and  close  to  the  edge  of  the  upper  portion, 
from  the  bass  termination  to  the  hump.  These  were  also  carried  along 
the  sides  of  the  termination. 

The  decorations  upon  the  sides  of  the  harmonic  curve  are  altogether 
shown  by  burned  lines,  curves,  and  circles  ;  ^  they  are  the  same  upon 
both  sides,  excepting  the  portions  below  the  metal  bands  for  the 
tuning-pegs,  where  they  are  dissimilar.  Upon  the  left,  springing  from 
the  incised  line,  there  are  thirteen  single  semicircles  which  are  intersected 
by  thirteen  others,  thus  forming  an  arcade  of  twenty-seven  Gothic  arches  ; 
while  upon  the  right,  double  lines  connecting  semicircles,  etc.,  occur 
between  the  incised  line  and  the  metal  band  through  which  the  tuning- 

'  As  an  unsightly  piece  of  metal  has  heen  nailed  incomplete  circles,  1^  in.  in  diameter,  with  a  small 

to  the  back  of  the  box  and  extends  4i  in.  along  circle   in  the  centre  of   each.     The  outermost  of 

the  harmonic  curve,   covering   a  portion    of   the  the    concentric    circles    are    about   2    in.     apart, 

ornamentation,    the    exact    termination    of    the  They  may  be  semicircles  joined  by  lines,  but  this 

design  is  not  visible  ;  but  about  j  in.  from  the  box  is  uncertain  {see  Plate  viii.). 
may  be  seen  upon  either  side  two  concentric  but 


PLATE    IV 


THE     QUEEN    MARY     HARP. 


THE    FORE-PILLAR.   DETAILS.   ACTUAL    SIZE 
N»M.II&III    THE    HEAD     FACING    THE    HARMONIC    CURVE       N°s    IVV&VI   THE   HEAD    FACING    THE    PROJECTING    BLOCK 


THE  "QUEEN  MARY"  HARP. 


V*. 


<^. 

kj 

PRESENT  FORM  OF  THE  HARP. 

The  measurements  are  given  in  inches.     Abbreviations  : — L.,  length  ;  W.,  width  ;  C,  circumference  ; 
R.  T.,  round  the  T  formation  ;  W.  T.,  width  of  the  T  formation. 


PLATE   V 
PROBABLE  FORM  OF  THE  HARP  WHEN  IT  LEFT  THE  HANDS  OF  THE  ARTIFICER. 


THE   HIGHLAND    HAEP  175 

pegs  pass.  The  front  of  the  harmonic  curve  at  the  bass  has  upon  the  outside 
incised  lines,  within  which  are  Unes,  semicircles,  and  small  circles  burned 
(see  Plate  viii.).  Beneath  the  harmonic  curve,  and  between  the  A  formed 
by  the  beads  already  referred  to  and  the  junction  of  the  harmonic  curve 
and  fore-pillar,  there  is  a  delicately  carved  moulding,  still  as  sharp  as 
when  it  left  the  hands  of  the  artificer,  and  it  may  be  remarked  that  this 
moulding  has  a  semicircular  termination  (see  Plate  viii.). 

The   fore-pillar   is   most   beautifully    decorated ;    carving    in    relief, 
incised  lines,  and  engraved  work,  touched  up  here  and  there  by  a  finely- 
pointed    hot    iron    and    enriched    by    staining,    are    used    with    great 
skill.     Upon  the  right  side  there  is  a  foliaceous   and   trefoil   pattern  ; 
then  within  a  circle,  surmounted  by  pellets,  a  two-legged  reptile  with 
upturned  head  is  represented  with  a  fish  in  its  jaws,  and  above  a  horse- 
like  animal  with  its  right  foreleg  and  hoof  raised  to  its  mouth.     Along 
the  side,  at  the  back  of  the  T  formation,  there  is  a  foliaceous  pattern 
ending  in   interlaced  stems    and    leaves,    above  which,  within   a  circle 
surrounded  by  pellets,  there  is  a  fine  representation  of  a  lion  standing 
upon  three  legs  with  the  left  foreleg  raised  in  front.     Here  the  centre 
has  been  hollowed   out,   apparently  to  receive  the  setting  for  a  gem. 
Above  the  circle  there  is  a  foliaceous  design  (see  Plate  ix.).     Upon  the 
left  side,  near  to  the  projecting  block,  there  is  a  foliaceous  and  trefoil 
design  ;  then  a  circle  surrounded  by  pellets,  within  which  is  represented 
a  winged  dragonesque    biped  with  a  triple  tail.       Along  this   side,   at 
the  back  of  the  T  formation,  there  is  a  foliaceous  design  differing  from 
the  one   upon  the   right   side ;  and   above,  within  a  circle  surrounded 
by   pellets,^  is    represented  a   creature  with  a  head    like  a   bird,   four 
clawed  feet,  wings,  and  a  large  tail,  and  above  a  foliaceous  design  (see 
Plate  IX.  ).= 

The  creatures  represented  within  the  circles  surrounded  by  pellets 
are  admirably  drawn.  The  reader  may  remark  that  a  cross  occurs  upon 
both  sides  of  the  fore-pillar,  and  that  these  crosses  do  not  quite  har- 
monise with  the  designs  (see  Plate  ix.) ;  also  that  the  letters  "D.O." 
occur  four  times,  that  is,  behind  the  eyes  of  each  of  the  reptiles'  heads. 
The  front  of  the  fore-pillar  below  the  T  formation  is  divided  by  a  flattened 

'  The  pellets  are  not  ia  relief.     In  each  case  -  The    terminations   of   the   T   formation    are 

they  are  shown  by  burned  lines.  indicated. 


176 


MUSICAL    IN-STEUMENTS 


bead,  and  upon  either  side  there  is  incised  and  line  interlaced  ornamenta- 
tion. Between  the  T  formation  and  the  harmonic  curve  we  also  find  the 
flattened  bead  with  a  foliaceous  design  shown  by  incised  and  line  orna- 
mentation. The  ornamentation  of  the  T  formation  is,  for  the  most  part, 
in  relief,  and  is  exceptionally  fine.  The  lips  of  the  heads  of  the  reptiles 
facing  the  jarojecting  block  end  upon  either  side  in  bands  or  ribbons, 
which  are  continued  along  the  back  of  the  T  formation.  Four  and  a 
half  inches  fi'om  the  commencement  of  the  lip  there  are  four  deeply  en- 
graved lines  upon  the  right  and  three  upon  the  left ;  the  ribbons  take  an 
upward  curve,  and  are  the  commencement  of  the  interlaced  patterns. 
The  lip  of  the  upper  head  is  treated  in  a  similar  manner,  the  bands  or 
ribbons  in  this  case  having  two  incised  lines,  one  upon  either  side.  The 
designs  of  the  lower  and  upper  portions  upon  the  T  formation  are 
difiereut.  Along  the  outside  of  the  snouts  are  a  series  of  inverted  and 
oblique  semicircles.  The  eyeballs  are  surrounded  by  double  incised  lines, 
between  which  there  is  a  series  of  inverted  semicircles  from  the  outer 
lines.     The  beads  running  along  the  centre  of  the  reptiles'  heads  have 

semicircles  upon  either  side.  A  flattened  bead 
is  carried  along  the  front  of  the  T  and  divides 
the  ornamentation.  This  band  becomes  wider 
as  it  approaches  the  centre,  and  has  an  incised 
interlaced  quadruple  ribbon  pattern.  Here  there 
were  six  silver  bosses,  fovir  of  which  remain.^ 
From  the  flattened  bead  stems  branch  upon 
either  side,  terminating  in  circles  in  relief ;  these 
circles  have  incised  and  line  ornamentation 
(Figs.  V.  and  vi. ) ;  one  has  an  interlaced  pattern  and  very  delicate  line 
work.^  The  back  of  the  fore-pillar  has  finely  designed  interlaced 
patterns,  shown  by  incised  and  delicate  lines  enriched  by  staining  (see 
Plate  IX.). 

In  the  foregoing  description  the  writer  has  simply  indicated  the 
manner  in  which  the  various  designs  have  been  executed.  The  illustra- 
tions are  from  rubbings  and  gelatine  tracings  ;  they  are  to  scale,  and 
have  been  compared  with  the  original  ornamentation. 


•  At  either  end  there  are  holes.      These  may 
have  been  for  nails  with  knobs  ;  they  apparently 


were  not  for  bosses. 

-  The  block  illustrations  are  actual  size. 


THE  "QUEEN  MARY"  HARP. 


2/=^ 


No.  I.    Upper  portion  of  the  back.     The  dotted  line  indicates  the  probable'original  termination. 

No.  2.   Remains  of  ornamentation  upon  the  left  side  of  the  back.         No.  3.   Do.  upon  the  right  side  of  the  back. 

No.  4.   Right  side  of  the  projecting  block.     The  missing  portion  restored.        No.  5.   Left  side  of  the  projecting  block. 

No.  6.   Lower  front  of  the  projecting  block,  showing  the  portion  worn  away.     No.  7.  The  lower  termination  of  the  box. 


THE    HIGHLAND    HAEP  177 

In  the  chapter  upon  the  Irish  Harp,  the  writer  has  stated  that  the  fore- 
pillar  was  occasionally  shortened  by  the  tension  of  the  strings,  and  the 
fore-pillar  of  the  "  Queen  Mary  "  Harp  has  undoubtedly  been  so  shortened. 
If  the  reader  examines  Plates  ii.  and  iii.  he  will  see  that  the  fore-pillar 
no  longer  fits  the  depression  made  in  the  box  and  projecting  block  for 
its  reception,  and  that  the  back  of  the  fore-pillar  rises  ^  in.  above  the 
depression ;  this  measurement  appeared  to  the  writer  to  represent  the 
shortening  of  the  fore-pillar.^ 

On  account  of  a  slight  curvature  of  the  fore-pillar  to  the  left,  the 
right  side  is  somewhat  the  longer  of  the  two.  The  writer  consequently 
accepts  24f  in.,  the  measurement  of  the  length  along  the  curve  of  the  left 
side,  as  most  probably  correct.  The  length  along  the  plane  is  22-|-  in.  ; 
with  1^  in.  added  to  either  side  it  is  22^  in.  An  arc,  the  centre  of  which 
is  17f  in.  from  either  extremity,  will  be  found  to  measure  along  the 
curve  24f  in.,  and  to  rise  i^g  in.  from  the  plane.  It  is  probable  that 
this  was  the  original  curve  of  the  fore-pillar,  and  that  the  shortening 
occurred  more  towards  the  lower  than  towards  the  upper  portion  of  the 
fore-pillar.-  It  may  here  be  stated  that  the  metal  loop  for  the  thirtieth 
string  was  attached  to  the  depression  after  the  fore-pillar  had  become 
shortened,  and  probably  during  the  life  of  the  last  person  who  is  known 
to  have  used  the  Harp. 

Along  the  back  of  the  T  formation  and  upon  the  left  side  there  is  a 
crack  about  8|-  in.  long,  more  than  ^  in.  deep,  and  more  than  |-  in.  wide, 
the  development  of  which  must  to  a  large  extent  have  been  the  cause  of 
the  shortening  of  the  fore-pillar.  By  the  shortening  of  the  fore-pillar  the 
form  of  the  Harp  has  been  altered  (see  Plate  v.).  It  is  evident  that  the 
cavity  in  the  pi-qjecting  block  for  the  fore-pillar  was  made  larger  than  was 
necessary,  and  it  is  probable  that  this  was  required  for  the  proper  adjust- 
ment of  the  parts,  and  that  before  they  were  united  the  space  near  to  the 

'  Before  making  a  positive  assertion  as  to  the  inserted  in  the   depression,  the   upper  extremity 

shortening,   the  following  test   was   applied.     A  in  front  would  be  ^  in.  above  the  lower  portion 

piece  of  stiff  paper  of  the  exact  form  of  the  side  of  the  harmonic  curve,  and  1|  in.  from  the  bass 

of  the  fore-pillar  was  placed  in  the  position  the  end  ;  and  the  back  portion  |  in.   above  the  lower 

fore-pillar  originally  occupied  in  the   depression,  portion,  and  4'j'^t  in.  from  the  end. 

and  the  positions  of  the  front  and  of  the  back  of  ''A  fore-pillar  of  this  form  has  been  found  to 

the  upper  portion  were   then  noted.     The  paper  exactly  fit  at  both  extremities,  whereas  one  i  in. 

showed  that  were  the  fore-pillar  again  accurately  longer  will  not  do  so. 


178  MUSICAL   INSTRUMENTS 

termination  of  the  projecting  block  was  filled  by  a  wedge.  It  may  have 
been  necessaiy  at  some  time  to  remove  the  strings  and  separate  the  fore- 
pillar  from  the  block,  when  the  person  who  replaced  them  must  have 
neglected  to  insert  the  wedge.  The  reader  will  understand  that,  when 
the  fore-pillar  became  shortened,  the  pressure  caused  by  the  tension  of 
the  strings  in  place  of  being  distributed  over  three  inches  fell  upon  one 
point,  and  that  the  thrust  was  towards  the  termination  of  the  fore-pillar. 
There  being  no  restraining  wedge,  the  fore-pillar  was  forced  to  the  end 
of  the  cavity  y\-  in.  in  advance,  and  destroyed  the  termination  of  the 
depression  at  the  end  of  the  projecting  block,  which  had  been  -^^  in.  wide. 
The  fore-pillar  is  now  ^  in.  from  the  end  of  the  depression  nearest  to 
the  sounding-boai"d. 

Turning  to  the  junction  of  the  fore-pillar  and  harmonic  curve,  upon 
the  left  side  of  the  latter  we  find  that  at  the  nineteenth  peg-hole  a 
strengthening  plate  has  been  placed  across  the  peg-hole  band.  There 
can  be  little  doubt  that  the  band,  which  is  thin,  has  there  given  way. 
Continuing  the  line  of  the  lower  portion  of  the  harmonic  curve  past  the 
junction  of  the  fore-pillar,  we  find  that  from  the  back  of  the  fore-pillar 
onwards  the  harmonic  curve  has  been  thrust  upwards,  and  that  there 
are  two  cracks.  Upon  the  right  side  we  find  that  the  metal  band  has 
been  fractured  where  it  is  pierced  for  the  twenty-fourth  tuning-peg,  and 
that  a  broad  piece  of  metal  has  been  placed  across  the  band ;  that  the 
cracks,  already  noticed  upon  the  left  side,  are  strongly  marked  (see 
Plate  VIII.),  and  the  alteration  in  the  form  where  the  fore-pillar  joins  is 
more  pronounced.  What  has  been  noticed  as  occurring  at  the  junction 
of  the  fore-pillar  and  the  projecting  block  is  here  most  distinctly  seen. 
The  harmonic  curve,  supported  at  one  point  only,  has  been  gradually 
dragged  down  by  the  tension  of  the  strings,  until  by  the  yielding  of  the 
wood  caused  by  the  cracks  the  two  pieces  again  came  in  contact.  Here 
we  also  find  the  fore-pillar  has  been  thrust  forward  ^  in. 

The  string-band  was  probably  originally  almost  a  straight  line,  but 
owing  to  the  tension  of  the  strings  the  sounding-board  has  been  drawn 
up  one  inch  exclusive  of  the  string-band.^  The  string-band  has  been  so 
strained  that  a  crack  developed  along  the  string-holes — i.e.   from  the 

'  This  has  had  the  effect  of  slightly  opening  the  back  of  the  box  at  the  right  side,  indicated  by 
a  dark  line  (Plate  vii.,  No.  3). 


THE    HIGHLAND    HA  EP  179 

tenth  to  the  fifteenth.  This  crack  is  ^  in.  deep/  the  thickness  of  the 
band  being  ^  in.  The  defect  in  the  formation  of  the  "shoes  of  the  strings  " 
was  then  apparent  to  the  possessor  of  the  Harp,  and  small  pieces  of 
metal,  some  with  semicircles  at  either  end,  and  measuring  from  |^  in.  to  one 
inch  in  length,  were  nailed  across  and  beneath  each  of  the  "shoes  of  the 
strings."  These  unsightly  additions  may  be  seen  upon  Plate  i.,  but  upon 
Plate  VI.  they  have  been  omitted.  The  upper  portion  of  the  front  of  the 
harmonic  curve  has  been  broken  oft",  evidently  the  result  of  an  accident, 
as  the  wood  is  not  badly  worm-eaten.  The  right  side  of  the  box  has  in 
two  places  been  badly  burned. 

Examining  the  junction  of  the  harmonic  curve  and  the  box,  a  wedge 
of  wood  -n'ill  be  found  inserted  at  the  back  of  the  harmonic  curve  where 
it  joins  the  box.  This  wedge  upon  the  left  side  is  about  jV  i^->  ^^'^ 
upon  the  right  side  of  the  back  ^  in.  thick,  and  may  have  been 
inserted  to  fill  the  cavity  caused  by  the  change  in  the  form  when 
the  bass  termination  became  depressed  in  consequence  of  the  shortening 
of  the  fore-pillar.  Probably  at  the  time  this  wedge  was  inserted  another 
wedge  was  placed  upon  the  right  side.  It  is  possible  there  may  have 
been  a  cavity  there  also  caused  by  the  tension  of  the  strings  dragging 
the  harmonic  curve  towards  the  left. 

Supposing  the  harmonic  curve  to  have  originally  fitted  the  depres- 
sion, it  is  evident  that  upon  the  left  side  it  is  ^^^  in.  higher  at  the  back 
than  it  should  be,  while  upon  the  right  side  it  is  3%  in.  higher  than  it 
should  be. 

The  back  of  this  Harp  is  instructive.  This  portion  had  originally 
been  as  finely  decorated  as  the  end  of  the  box,  but  only  two  vestiges  of 
the  decoration  are  now  to  be  seen.  The  greater  portion  of  the  ornamen- 
tation upon  the  lower  portion  of  the  shoulders  has  also  disappeared. 
The  corners  at  the  lower  termination  are  worn,  that  upon  the  left  side 
more  so  than  that  upon  the  right.  The  nose  and  brow  of  the  hound 
have  disappeared,  and  only  a  portion  of  the  eye  upon  the  right  side 
remains.  It  is  evident  that,  after  performing  upon  the  instrument,  the 
harper  placed  his  right  hand  under  the  back  of  the  shoulders  and  his 
left  hand  upon  the  lower  portion  of  the  fore-pillar,  and  carried  it  to 

'  The  width  of  the  crack  is  ^   in.      Where  it       writer  has  Dot  considered  it  advisable  to  show  the 
occurs  the  striug-band  is  somewhat  wider.      The       additional  width  upon  Plate  vi. 


180  MUSICAL    INSTEUMENTS 

its  stand  or  bench ;  then,  placmg  it  so  that  the  projecting  block  and 
left  corner  of  the  box  first  touched  the  bench,  moved  it  forward  as  he 
lowered  the  box,  and  then  pushed  it  along  the  bench  until  it  was  in  its 
proper  position.  This  appears  to  be  important  evidence  as  to  the  position 
of  a  Celtic  Harp  when  not  in  use.  The  Harp  has  been  most  carefully 
treated,  and  it  must  have  taken  many  long  years  of  friction  to  have 
obliterated  the  deeply  burned  lines  upon  the  back,  and  upon  the  back  of 
the  shoulders. 

According  to  tradition  there  were  attached  to  this  Harp  representa- 
tions of  Queen  Maiy  and  the  royal  arms  of  Scotland,  worked  in  gold, 
and  it  is  believed  that  these  were  I'emoved  and  stolen  about  the  year 
1745.  It  is  evident,  from  the  numerous  nails  that  may  still  be  seen, 
that  some  enrichments  had  been  added  after  the  construction  of  the 
instrument.  Upon  the  bass  termination  of  the  fore-pillar  there  are  four 
brass  pins,  and  immediately  below,  upon  the  front  of  the  fore-pillar, 
there  are  twelve  brass  nails.  Upon  the  upper  portion  of  the  right  side 
of  the  fore-pillar,  in  the  centre  of  the  circle  surrounded  by  pellets,  there 
is  a  cavity  evidently  intended  to  contain  the  setting  of  a  gem,  and  here 
we  find,  besides  one  brass  nail,  holes  that  certainly  may  not  be  worm- 
holes,  as  this  portion  of  the  instrument  is  not  badly  worm-eaten. 

Before  concluding  the  description  of  this  Harp  attention  may  be 
directed  to  the  frequent  representations  of  the  Christian  symbol.  The 
cross  appears  four  times  upon  the  sounding-board,  twice  upon  the 
fore-pillar ;  and  supposing,  as  is  most  probable,  the  twenty-nine  tuning- 
pegs  had  each  double  lines  crossing  each  other  upon  the  tuning  end, 
and  each  a  single  cross  upon  the  string  end,  the  cross  would  have  been 
represented  one  hundred  and  forty-five  times  upon  the  tuning-pegs  alone. 
From  these  numerous  representations  of  the  Christian  symbol  it  seems 
probable  that  this  Harp  was  constructed  either  for  some  churchman  or 
for  some  eminently  religious  layman.  We  know  that  the  Clarscha  was 
used  in  Ireland  within  some  hundred  and  fifty  years  to  accompany 
the  celebration  of  the  Mass,  and  it  was,  no  doubt,  so  used  at  lona  and 
throughout  the  Western  Islands. 

This  Harp  is  comparatively  light,  the  weight  being  slightly  under 
twelve  pounds.     The  box  is  stated  to  be  of  willow  wood,^  and  is  a  rich 

'  Drummond's  Scottish  Wcajions. 


THE  "QUEEN  MARY"  HARP. 

THE  HARMONIC  CURVE. 
1  » 


]         f 


No.  1.   The  front  of  the  bass  termination. 

No.  2.  Section  at  the  ninth  tuning  peg,  showing  section  of  the  moulding. 

No.  3.  The  moulding  underneath.  No.  4.  The  left  side.  No.  5.  The  right  side. 


THE    HIGHLAND    HAEP  181 

mahogany  colour.  It  is  badly  worm-eaten.  The  harmonic  curve,  which 
has  suftered  less  from  the  ravages  of  the  worm,  is  perhaps  of  the  same 
wood.  It  is  a  brownish  red.  The  fore-pillar  is  of  a  harder  wood  and  has 
a  closer  grain,  and  apparently  originally  was  of  the  colour  of  boxwood. 
With  the  exception  of  the  T  formation  it  has  been  very  carefully 
stained  here  and  there ;  the  T  itself  has  probably  all  been  stained  or 
coated  with  coloured  varnish. 

Comparing  the  "  Queen  Mary  "  Harp  with  the  specimen  preserved  in 
Trinity  College,  Dublin,  we  find  the  box  of  the  latter  to  be  less  deep,  the 
ornamentation  to  be  more  elaborate  and  more  varied,  while  the  drawing 
is  less  geometrical,  and  consequently  moi'e  pleasing.  The  ornamentation 
upon  the  sides  of  the  harmonic  curve  of  both  specimens  are  very  similar, 
while  the  moulding  underneath  in  both  specimens  ends  in  semicircles. 
The  lower  termination  of  the  Trinity  College  Harp  is  plain  and  coarsely 
fashioned,  while  that  of  the  "  Queen  Mary  "  Harp  is  well  ornamented. 
The  ornamentation  upon  the  sounding-board  and  the  sides  of  the  box 
of  the  Trinity  College  Harp  may  be  extended  at  the  lower  extremity, 
i.e.  if  the  semicircles  are  completed  the  patterns  will  then  terminate  in 
circles,  whereas  the  designs  upon  the  "Queen  Mary"  Harp  are  complete 
and  do  not  admit  of  extension.^  The  comparison  cannot  be  carried 
further,  as  the  fore-pillar  of  the  Trinity  College  Harp  is  out  of  harmony 
with  the  box  and  harmonic  curve.  The  Trinity  College  Harp  has  been 
shamefully  tampered  with,  while  the  "Queen  Mary"  Harp  has  not 
suftered  from  the  hands  of  restorers. 

This  Harp  must  always  be  remarkable  for  elegance  of  form,  exactness 
of  construction,  beauty  of  ornamentation,  and  wonderful  preservation  ; 
and  although  its  right  to  be  entitled  "  Queen  Mary's  Harp "  may  be 
questioned,  it  may  well  be  called  the  Queen  of  ancient  Harps. 

The  "  Queen  Mary  "  Harp,  when  strung  with  wire,  was  last  played 
upon  by  John  Robertson,  the  eleventh  laird  of  Lude,  Perthshire,  who 
was  a  noted  performer.  James  Macintosh,  father  of  the  Rev.  Donald 
Macintosh,  the  author  of  a  Collection  of  Gaelic  Proverbs,  when  visiting 
at  Lude  asked  the  laird  to  play  the  Harp.  After  supper  Lude  and 
Macintosh  retired  to  another  room  in  which  were  two  Harps,  one  of 
which  had  belonged  to  Queen  Mary.     "  James,"  said  Lude,  "  here  are 

'  The  pattern  shown  upon  the  Harp  sculptured  at  Keills  could  not  be  extended. 


182  MUSICAL    INSTRUMENTS 

two  Harps :  the  largest  one  is  the  loudest,  but  the  small  one  is  the 
sweetest ;  which  do  you  wish  to  hear  played  ? "  Macintosh  said  the 
small  one.  Lude  took  up  the  Harp  indicated,  and  played  upon  it  till 
daylight.' 

The  Kev.  Donald  Macintosh  tells  us  that  he  heard  this  from  his 
father,  and  was  so  impressed  that,  being  in  the  neighbourhood  of  Lude 
about  1803,  he  called  upon  General  Robertson,  the  great-grandson 
of  John,  the  eleventh  laird  of  Lude,  who  showed  him  both  the 
Harps. 

Macintosh  at  the  time  was  Gaelic  translator  and  keeper  of  Gaelic 
records  to  the  Highland  Society  of  Scotland,  and  after  his  return  to 
Edinburgh  he  informed  the  Society  that  two  Harps  were  preserved  at 
Lude.  In  1805  General  Robertson  was  communicated  with,  and  the 
Harps  were  sent  by  him  to  the  Society  for  examination.^ 

The  Harps,  when  brought  to  Edinburgh,  were  exhibited  before  the 
Society.  Drawings  were  made  of  both  by  Daniel  Somerville,  which  were 
afterwards  engraved  by  him  for  the  purpose  of  illustrating  "An  Historical 
Enquiry  respecting  the  Performance  on  the  Harp  in  the  Highlands  of 
Scotland,  by  John  Gunn,  1807."  Mr.  Gunn  states  that  the  smaller  of  the 
two,  the  "  Queen  Mary  "  Harp,  was  then  in  a  good  state  of  preservation, 
and  so  complete  and  sound  in  all  its  parts  that  it  looked  as  if  it  had 
been  made  some  eighty  years.  The  Society  expressed  a  wish  to  have 
it  strung  with  brass  wire,  and  this  was  accordingly  done.  Mr.  Gunn 
says :  "  It  did  not,  however,  occur  to  us  that  the  harpers  had  a  peculiar 
manner  of  producing  the  tone  from  brass  strings  by  using  their  nails, 
which  they  allowed  to  grow  to  a  certain  length  and  form  for  that 
purpose.  The  touch  or  manner  of  producing  the  vibration  of  the  strings 
by  the  modern  performers  is  on  a  different  principle  altogether,  and 
can  only  be  effected  on  strings  made  of  the  intestines  of  animals."  ^ 
It  is  fortunate  that  this  was  his  belief,  for  supposing  the  instrument 
had,  when  strung  with  wire,  been  kept  tuned  for  a  lengthened  period, 

•  Of  all  the  pieces  played  upon  the  instrument  ^  Although  Mr.  Gunn  knew  of  the  meeting  of 

by  Mr.  Robertson,  "Sniper  Chiurn  na  Leod,"  or  Harpers  at  Belfast  in  1792  (note,  p.  23),  he  was 

Lude's  Supper,  a  composition  of  Rory  Dall,  is  the  unaware   of   the   fact   that   of   the   ten   Harpers 

only  one  remembered.  present    only    one,     Hempson,    whose    age    was 

2  Gaelic   Proverbs,   edited   by  Alex.    Nicolson,  ninety-seven,  pulled  the  strings  with   the  finger- 

Edn.  1881,  pp.  409-420.  nails. 


THE    HIGHLAND    HARP  183 

and  supposing  it  was  then  as  badly  worm-eaten  as  it  is  now/  it  would 
in  all  probability  have  been  pulled  to  pieces  and  destroyed.  Mr.  Elouis," 
a  well-known  performer  upon  the  Pedal  Harp,  strung  the  instrument 
with  gut,  and  played  a  number  of  airs  upon  it  in  presence  of  several 
members  of  the  Society.  The  instrument  was  found  to  be  more  remark- 
able for  sweetness  than  for  power,  the  notes  produced  from  the  treble 
being  much  superior  to  those  produced  from  the  bass.  This  was 
certainly  to  be  expected  from  an  instrument  which  had  been  intended 
to  be  strung  with  wire.  The  strings  were  cut  close,  but,  unfortunately, 
the  huge  pegs  used  by  Elouis  for  securing  the  gut-strings  in  the  string- 
holes  were  not  removed,  and  still  disfigure  the  instrument.  There  can 
be  little  doubt  that  Elouis  supplied  a  number  of  the  iron  tuning- 
pegs  already  noticed.  General  Kobertson's  communications  to  the 
Society  are,  unfortunately,  lost;  but  as  he  lived  up  to  1820,  and  must 
have  been  aware  of  Mr.  Gunn's  statements,  and,  as  far  as  is  known, 
did  not  contradict  them,  they  may  be  accejjted  as  his  own. 

This  Harp  has  been  illustrated  by  John  Gunn  in  his  Historical 
Enquiry  ; '  the  Proceedings  of  the  Society  of  Antiquaries  of  Scotland 
(vol.  XV. ),  in  which  many  details  are  also  represented  ;  The  Book  of  the 
True  Highlander ;  Musical  Instruments,  Hipkins  and  Gibb ;  and  Drum- 
mond's  Scottish  Weapons.  That  in  the  last-mentioned  work  is  perhaps 
the  most  successful  of  the  representations.^ 

1  The  engraving  of  the  Lament  Harp  shows  cross  does  not  appear  upon  either  side  of  the  box. 
that  it  was  then  damaged  at  one  of  the  corners  This  plate  was  afterwards  used  for  James  Hogg's 
of  the  sounding-board.       If   this   damage   is   ex-       Queen's  Wake  (Edin.,  1819). 

amined,  it  will  be  seen  that  it  occurred  not  before  ■■  Upon  only  one  illustration,  that  in  Drum- 
but  after  the  instrument  had  been  hopelessly  mond's  Scottish  Weapons,  is  the  ornamentation 
riddled  by  worms.  If  the  Lamont  Harp  was  upon  the  shoulders  indicated.  In  this  work  there 
worm-eaten  in  1807,  the  "Queen  Mary"  is  almost  is  also  a  page  showing  details,  none  of  which  are 
certain  to  have  been  in  the  same  worm-eaten  by  Drummond,  but  some  are  apparently  from  the 
state  it  now  is.  blocks  belonging  to  the   Society  of  Antiquaries. 

2  Elouis  was  a  performer  of  note,  and  an  It  is  to  be  regretted  that  the  details  which  appear 
arranger  of  Scottish  music  for  the  Harp.  He  was  in  the  Proceedings  of  the  Society  of  Antiquaries, 
a  successful  teacher  in  Edinburgh  up  to  181S.  and  in  Drummond's  Scottish  Weapons,  are  not  as 
The  cause  of  the  collapse  of   his  classes   and   of  accurate  as  detail  drawings  should  be. 

his  leaving  the  city  is  amusingly  related  in  the  Neither  the  lines  running  along  the  edge  of  the 

Memoirs  of  a  Highland  Lady,  p.  .SI 3.  lower   termination    and    side    of   the    sounding- 

^  There  is  a  deplorable  error  in  this  illustration.  board,  nor  the  shortening  of  the  tore-pillar,   are 

Upon  the  centre  of  the   right  side   of  the  box  a  represented  upon  any  of  the  illustrations, 
cross  is  represented,  enclosed  within  circles.      A 


184  MUSICAL    INSTRUMENTS 


MUSIC 

That  a  vast  amount  of  music  was  composed  for  the  Clarscha  or  High- 
land Harp  we  have  every  reason  to  believe,  but  unfortunately  it  is  now 
a  matter  of  difficulty  to  say  positively  what  is  Highland  Harp  music. 
The  instrument  being  superseded  by  the  violin,  music  for  it,  although 
remembered,  is  certain  to  have  been  altered,  and  impossible  harp-notes 
introduced.  In  "  Give  Me  Your  Hand,"  a  melody  which  may  reason- 
ably be  supposed  to  have  been  composed  for  the  Harp,  we  find  in  a 
copy  printed  by  Burk  Thumoth,  c.  1750,  an  impossible  note,  and  this 
note  has  been  repeated  by  Bunting,  who  published  the  melody  as  Irish. 
Confronted  with  this  difficulty,  the  writer  has  found  it  necessary  to 
confine  the  illustrations  to  a  few  melodies,  the  composition  of  Rory 
Dall  (Morrison),  the  harper  of  Macleod  of  Macleod,  which  there  is  reason 
to  suppose  were  written  for  the  Harp,  and  others  that  could  be  played 
upon  the  Clarscha  or  Highland  Harp  with  thirty  strings. 


THE    HIGHLAND    HARP 


185 


LUDE'S  SUPPER,  DANIEL  DOW. 

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MUSICAL    INSTRUMENTS 


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THE    HIGHLAND    HARP 


189 


THE  TERROR  OF  DEATH.  DANIEL  DOW. 

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MUSICAL    INSTRUMENTS 


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INDEX 


2b 


INDEX 


Abbott,  Rev.  Thomas  K.,  Preface  ix. 

Academy,    the     Council    of     the    Pvoyal     Irish, 

Preface  ix. 
Accounts  of  the  Lord  High  Treasurer,  142. 
Accounts  of    the   Lord    High  Treasurer,  excerpt 

from,  relating  to  the  Highland  Harp,  150-154. 
Adair,  Robert,  of  HoUybrook,  100. 
Aedh,  a  professor  of  singing,  14. 
Aileen  Aroon  (Irish  Air),  133. 
Alderford  House,  Roscommon,  117. 
Allen,  J.  Romilly,  Esq.,  Preface  ix. 
Altbar  Chapel,  Aberlemno,  154. 
Anderson,  Joseph,  Esq.,  LL.D.,  Preface  ix. 
Anne  of  Denmark's  entry  into  Edinburgh,  haut- 

bois  and  harp  played  at,  149. 
Archibald,  Earl  of  Argyll,  149. 
Art  MacMurrough,  17. 

Bacon,  on  the  Irish  harp,  21. 

Bag-pipes,  used  in  war,  19,  22. 

Ballinderry,  harp-mountings  found  at,  G3. 

Balquhidder  and  Inchmahome,  bards  at,  141. 

O'Bauahan,  William,  25. 

O'Banahan,  fourteenth  century  harp  of,  158. 

Bard,  definition  of  the  name,  6,  7. 

Bardesy  of  the  Bards,  6. 

Bards,  6. 

Bards  in  Scotland,  140. 

Barnaby  Rich,  21. 

Barry,  Ellen,  65. 

Bateman,  Thomas,  92. 

Beauford,  W.,  37. 

Belfast,  Council  of  the  Nat.  Hist,  and  Philosophical 

Society  of.  Preface  ix. 
Belfast,  distinguished  harpers  in  1792  at,  45. 
Belfast  Harp  Society,  101. 
Belfast,  meeting  of  harpers  in  1792  at,  49. 
Belfast  Museum,  harp  in  the,  84. 
Bell,  inquiry  as  to   the  two   Scottish    harps,  by 

C.  D.,  158. 
Bell,  John,  of  Dungannon,  107. 
Betham,  Sir  William,  27. 
Black,  Messrs.  A.  and  C. .  Preface  ix. 
Black  Rosebud,  The  [Irish  Air),  129. 
Bloomfield,  J.  C,  114. 
Book  of  Glendalough,  the,  3. 


Bountas,  a  performer  on  the  "Cornut,"  144. 

Braes,  6. 

Brian  Boroihme,  4. 

O'Brien,  Donnchadh  Cairbreach,  12. 

Brompton,  Abbot  Johannes,  10. 

Brosnach  of  the  Sai,  6. 

Browne,  W.  I.,  Esq.,  Preface  ix. 

Bruce,  Sir  Henry  Hervey,  91. 

Buchanan,  George,  140. 

Buchanan,  of  Spitel,  149. 

Bunting,  116,  117. 

Bunting,  O'Curry's  strictures  upon,  46. 

Bunting's  collections,  120. 

Buuworth,  collection  of  harps,  by  Rev.  Charles, 

lis. 

Bunworth  Harp,  the,  91,  116. 
Bunworth,  Rev.  Charles,  91. 
Burns  March  {Irish  Air),  135. 
Buttevant,  Viscount,  65. 

Camden  on  the  Irish  poets  and  harpers,  19. 

Camner,  .John,  hite-player,  144. 

Camus  O'Carnill,  a  harper,  14. 

Caradoc  of  Lhancarvau,  10. 

Carolan,  4S. 

Carolan,  destruction  of  the  harp  of,  115. 

Carolan,  Turlough,  musician,  9. 

Carolan s  Concerto  (Irish  Air),  136. 

Castide,  description  of  regal    hospitality   offered 

to  minstrels,  etc.,  by  Henry,  16. 
Castle  Bellew,  a  harp  played  at,  109. 
Castle  Caldwell  Harp,  the,  113. 
Castle  Otway  Harp,  28,  34,  35,  82. 
Castle  Otway  Harp,  description  of,  73. 
Cavalcade  of  the  Boijne,  T)i.e  (Irish  Air),  125. 
Chapel  of  Keills,  harp  upon  stone  at,  155. 
Charlemont  Harp,  the,  105. 
Charlemont,  Mary,  Countess  of,  105. 
Christison,   Sir   Robert,    note   on   growth  of  peat 

by,  119. 
Cir,  a  poet,  3. 
Clarence,    Act    anent    Irish    agents,    by    Lionel, 

Duke  of,  15. 
Clarscha,    or    Irish    Harj),    compared    with     the 

Scottish  Harp,  148. 
Clavyehordes  played  by  James  iv.,  142. 

195 


196 


MUSICAL    INSTEUMENTS 


Clynn,  John,  friar  of  Kilkenny,  14. 
Coffey,  George,  Esq.,  Preface  ix. 
Cole,  G.  A.  J.,  Esq.,  Preface  ix. 
Conaire  Mor,  5. 

O'Conmhaigh,  Chief  Professor  of  Music,  14. 
Conuaught,  famous  for  music,  90. 
O'Connell,  107. 

Constable,  Archibald,  Esq.,  Preface  ix. 
"  Contention  of  the  Bards,"  the,  8. 
Corcoiche,  County  Limerick,  4. 
Cormac  Ulfaila,  4. 
Coulin  (Irish  Air),  123. 
Cox,  Walter,  115. 
Crafting,  a  harp-player,  2. 
Croker,  Crofton,  91. 
Crusius,  a  harper,  21. 
Cuiseachs,  pipes,  2. 
Cunga,  14. 
Curoi  MacD.<iir^,  2. 

O'Curry's  strictures  on  the  Belfast  harpers, 
criticism  of,  51. 

Daderg,  palace  of,  5. 

Dalway  Harp,  the,  27,  35. 

Dalway  Harp,  inscriptions  upon  the,  67. 

Dawning  of  the  Day,  The  {Irish  Air],  126. 

Donaldson,  George,  Esq.,  Preface  ix. 

O'Donnel,  Prince  of  Connal,  145. 

Douglas,  William,  Esq.,  Preface  ix. 

Downhill  Harp,  the,  34,  83,  88. 

Drawling  Bog,  harp  found  in,  1 18. 

Drumnaslad,  113. 

Dublin  Museum,  two  harps  in  the,  82. 

Dublin,    music    in    memory    of   Carolan,    in    the 

Rotunda  at,  117. 
Dungan,  James,  48. 
Dupplin,  Perthshire,  harp  upon  stone  at,  154. 

Edinburgh,  Irish  Harp  at,  in  National  Museum, 
107. 

Egan,  harp-maker,  105. 

Elouis,  a  performer  on  the  pedal  harp,  183. 

Eochad  (Ollamh  Fodhla),  4. 

Evelyn,  John,  testimony  to  the  difficulty  of  play- 
ing the  Irish  harp  by,  23. 

Feaghan  geleash  :  or.  Try  if  it  is  in  tune  {Irish  Air), 

121. 
Feis  Ceoil,  in  1897,  52  n. 
FeisCeoil,  1899,79. 
Fenachus  Law,  2. 
Ferceirtn^,  a  harper,  2. 
Ferriter,  Pierce,  31. 
OTfogerty,  Cornelius,  79. 


O'Ffogerty  Harp,  the,  26,  79. 

Fiddler's  Content,  The  {Highland  Air),  190. 

O'Finaghty,  Hugh,  14. 

O'Finaghty,  a  tympanist,  14. 

Finglas,  Patrick,  18. 

Finn,  Thomas,  115. 

Fitzgerald,  or  Dalway  Harp,  65. 

Fitzgerald,  Lord  Walter,  Preface  ix. 

Fitzgerald,  Sir  John  Fitz-Edmond,  65. 

Fordun,  John  of,  testimony  on  Scottish  and  Irish 

music  by,  16. 
Eraser,  Dr.,  Irish  peasant's  harp  belonging  to,  109. 

Galilei,  Vincentio,  19. 

Galpin,  Rev.  F.  W.,  92,  and  Preface  ix. 

Giraldus  Cambrensis,  139. 

Giraldus  Cambrensis,  testimony  to  the  excellence 

of  Irish  music  by,  11. 
Oirls,  have  you  seen  George?  {Irish  Air),  127. 
Glen,  Messrs.,  Preface  ix. 
Glenarb,  the  O'Neills  of,  111. 
Glover,  Professor,  105. 
Godfrey  of  Boulogne,  10. 

Good,  John,  testimony  to  the  Irish  music  by,  19. 
Graham,  George  Farquhar,  39. 
Granard,  meeting  of  harpers  at,  49. 
Grey,  Nicholas,  player  on  the  drone,  145. 
Griff yth  ap  Conan,  11. 
Groves  of  Blarney,  The  {Irish  Air),  130. 
Gunn,  John,  167. 
Guun,  John,  inquiry  as  to  the  two  Scottish  harps 

by,  158. 

Hagen,  Johann  Van  Der,  115. 

Hall,  Mr.  and  Mrs.  C.  S.,  91. 

O'Halloran,  114,  118. 

Hardiman,  James,  115. 

Harp,  by  John  Egan,  100. 

Bunting's  names  for  the  different  kinds  of, 

39. 

of  Carolan,  a  harp  known  as  the,  87. 

decay  of  the,  46. 

historical  notices  of  the  Irish,  1-23. 

Irish  names  for  the  different  portions  of  the, 

31. 
Irish  names  for  the  different  strings  of  the, 

40,  41. 
key  and  time  phrases  used  in  playing  the, 

44,  45. 

method  of  playing  the,  36. 

names  of  the  graces  performed  on  the,  42, 

43,  44. 
payments   by  James  iv.  to   players   on  the 

Irish,  17,  18. 


INDEX 


197 


Harp,  portrait  painted  upon  a,  85. 
scale  and  tuning  of  the,  37. 

Society  at  Belfast  formed,  51. 

Society,  formed  in  Dublin,  101. 

tabor,  and  chorus  in  Scotland,  139. 

twelfth-century  poem  on  a  lost  Irish,  12,  13. 

the  Welsh  triple,  Preface  vii. 

upon  stone  at  Keills,  173. 

with  projecting    block,   earliest  representa- 
tion of,  158. 

player,  date  of  earliest  notice  of  a,  2. 

Harps  of  the  Belfast  Society,  105. 
on  coins  of  James  vi.,  156. 

of  eight  strings,  156. 

and  olarischoes,  difference  between,  140. 

construction  of  the  Irish,  27-36. 

destruction  of  theBunworth  collection  of,  118. 

existing  specimens  of,  55. 

in     Ireland    during     seventeenth    century, 

commonness  of,  21,  22,  23. 

represented  on  painted  ceilings,  etc.,  156. 

— —  representations  of  the,  24-27. 

two  kinds  of  Irish,  27. 

Harpers,  antiquaries,  etc.,  privileges  enjoyed  by, 
1  n. 

description  of  the  dress  of  early,  5. 

•  of  Conaire  Mor,  the  nine,  5. 

Harp-like  instruments,  Preface  vii. 
Harte,  Sir  Richard,  118. 
O'Haughliiinn,  Chief  Tympanist.  17. 
Hehir,  Jonathan,  110. 

Hempson,  a  harper,  47,  90. 

Hempson  and  O'Kane,  150. 

Hennell,  E.  W.,  102,  and  Preface  ix. 

Henry  viii.,  the  harp  on  the  coins  of,  27. 

Hewson,  Rev.  Canon,  Preface  ix. 

Higden's  Polychronicon,  15. 

Highland  Harp,  music  for  the,  185-192. 

Highland  Laddie  {Air),  186,  187. 

Hodson,  Lady,  Preface  ix. 

Hodson,  Miss,  Preface  ix. 

Hodson,  Sir  Robert  Adair,  Bart.,  Preface  ix.  and 

100. 
Hollybrook  Harp,  the,  96,  HI. 
Holy  rood,  90. 
Hume,  and  others,  Carolan's  music  published  by, 

117. 
Ilbrechtach,  a  harper,  4. 
Image  of  Ireland,  the,  25. 
Ingcel,  an  outlaw,  5. 
Inverlochy,  musical  instruments  at,  149. 
lona,  harp  on  a  column  of  the  cathedral  at,  155. 

Jackson,  James,  52. 


Jackson,  William,  Esq.,  Preface  ix. 

James  IV.  as  a  patron  of  singers  and  players,  141. 

Jereval  Abbey,  Yorkshire,  10. 

Jerpoiut  Abbey,  late  representation  in  stone  of  a 

harp  at,  25. 
Jolly  Ploughman,  The  (Irish  Air),  131. 

Kearnagh  Ui  Donnell,  5. 

Keenan,  Owen,  a  noted  harper,  113. 

Kells,  representation  of  the  harp,  in  stone,  at,  24. 

O'Kelly,  Cormack,  73,  SS. 

0' Kelly,  Cormac,  name  of,  carved  ou  a  harp,  77. 

Kelly,  John,  91. 

Kelly,  John,  harp  by,  110. 

Kilcoy  Castle,  harp  upon  stone  in,  155. 

Kildare  Harp,  the  description  of  the,  70,  73,  79. 

Kilkea  Castle,  72. 

Kilronan,  117. 

King  of  Cashel,  the,  4. 

Kitty  Noxolan  {Irish  Air),  134. 

Lady-playeks  on  the  Irish  Harp,  120. 
Lamentation  of  Deirdre  for  the  Sonn  of  Usneach 

{Irish  Air),  121. 
Lamont  Harp,  the,  25,  30,  148,  158. 
Lament  Harp,  description  of  the,  159-168. 
Land  o'  the  Leal,  The  {Highland  Air),  192. 
Langrishe,  Richard,  Esq.,  Preface  ix. 
Ledwich,  Edward,  37. 
Lee,  John,  117. 

Leezie  Lindsay  {Highland  Air),  188. 
Lennox,  John,  149. 

Lesson  for  the  Harp,  A  {Irish  Air),  122. 
Limerick  Harp,  the,  118. 
Linden,  Patrick,  of  the  Fews,  79. 
Lindse,  Edu.  of  Lennox,  85. 
Little  Molly  0  {Irish  Air),  128. 
Logan,  Isabella,  149. 
Longfield,  T.  H.,  Esq.,  Preface  ix. 
Lude's  Supper  {Highland  Air),  185. 
O'Luinin,  17. 
Lutare,  Jacob,  143. 
Lute,  in  James  iv.'s  Court,  the,  142. 
Luterers,    fiddlers,    drummers,    etc.,   attached    to 

great  houses,  144-147. 
Lynch,  Dr.,  114. 

MacBride,  Edward,  52. 
MacCarroll,  a  minstrel,  14. 
MacCarroll,  William,  the  son  of,  15. 
MacConmidhe,  poet,  12. 
MacCurtin,  a  musician,  17. 
MacDermot  Roe,  the,  115,  Preface  ix. 
Macdonald,  Murdoch,  149. 


198 


MUSICAL   INSTRUMENTS 


M'Donnell,  Dr.  James,  45. 

MacEgan,  Boetlims,  17. 

MacEgan  and  O'Bardan,  harpers,  5. 

M'Googan,  A.,  Esq.,  Preface  ix. 

Macintosh,  James,  181. 

Macintosh,  Rev.  Donald,  182. 

Maclean  of  Coll,  149. 

Maclean,  Rev.  Aleu  M.,  Preface  ix. 

MacLigg,  chief  poet,  4. 

MacLonain,  chief  poet,  4. 

MacMnaighneorach,  11. 

Magennis  Harp,  the,  110. 

Major,  John,  note  on  Scots  music  by,  139. 

Marsh,  Sir  Henry,  115. 

Martin,  description  of  the  islands  of  Scotland  by, 

8,  141. 
Martyn,  John,  engraver,  116. 
Massey,  General,  115. 
Massey,  the  Very  Rev.  Charles,  115. 
Melodies,  played  at  Belfast,  list  of,  49  n. 
Middletou,  Miss,  Preface  ix. 
Minstrels,  Payments  to  Italian  and  French,  144, 

145. 
Miss  Molly  {Irish  Air),  132. 
Molly  Macalpin  (Irish  Air),  133. 
Molly,  my  Treasure  [Irish  Air),  129. 
O'Moghane,  a  minstrel,  15. 

Monitieth,  Forfarshire,  harp  upon  stone  from,  154. 
Mungan,  a  harper,  47. 
Muscraighe  of  Ormond,  4. 

Museum,  harp  in  the  Victoria  and  Albert,  111. 
Music  for  the  Irish  Harp,  120. 
My  Ain  Kind  Dearie  [Highland  Air),  192. 
Mylsone,  James,  143. 

Napier,  of  Ballekinrain,  149. 

Netv  Langolee  [Irish  Air),  132. 

Nigg,  Ross-shire,  harp  upon  stone  at,  154. 

O'Neill,  the  harp  of,  86,  111. 

O'Neill,  Arthur,  51,  62  Addenda. 

Nobber,  Westmeath,  117. 

Nora,  my  Thousand  Treasures  [Irish  Air),  134. 

Nugent,  Father  Robert,  33. 

Old  Trwigh,  The  [Irish  Air),  126. 

OUamhs,  or  Doctors,  1. 

Ona,  a  har))er,  3. 

Otway-Ruthven,  Mrs.,  Preface  ix. 

Otway-Ruthven,  Miss,  Preface  ix. 

Ousley,  William,  of  Limerick,  110. 

Owenson,  Sydney  (Lady  Morgan),  8,  51  n,  119. 

Pale,  in  Ireland,  the,  7. 
Pate,  a  harper,  143. 


Peat-bogs,  harps  found  in,  118,  119  n. 

Pierce,  Nicholas,  a  great  harper,  22. 

Plunkett,  Lieut. -Colonel,  C.B.,  Preface  ix.,  33. 

Poets  and  Bards,  distinction  between,  8. 

Poets,  grades  of  the  Irish,  6. 

Polydore  Virgil,  testimony  to  Irish  music  by,  18. 

Powell,  medieval,  Welsh  historian,  11. 

Pretorius,  26. 

Pretorius,  on  the  Irish  harp,  21. 

Prince  Charles  Edward,  90. 

Prior  of  Whithorn,  Clarscha  of  the,  149. 

"Qdken  Mary"  Harp,  the,  56,  62,  158. 
"Queen  Mary"  Harp,  description  of  the,  168-183. 
"  Queen    Mary "   Harp,  the    back   decorated    of 

the,  179,  180. 
"Queen  Mary"   Harp,   comparison  between  the 

Trinity  College  and  the,  181. 
"  Queen  Mary  "  Harp,  frequency  of  the  symbol  of 

the  Cross  upon  the,  180. 
"  Queen    Mary "    Harp,    representation     on    the, 

180. 
"  Queen   Mary  "  and  the  Lament  Harp,  brought 

to  Edinburgh,  182. 
Quin,  Patrick,  79. 
Quin's  Harp,  73. 
Quinish  in  Mull,  149. 

Reanney,  Valentine,  harper,  52. 
Representations  upon  stone  of  the  Highland  harp, 

154-158. 
Ritchie,  Mr.  Alexander,  Preface  ix. 
Robertson  of  Lude,  181. 
Robertson,  General,  182. 
Roderic,  King  of  Wales,  10. 
Rogers,  J.,  engraver,  116. 

Eorie  DaWs  Sister's  Lament  [Highland  Air),  191. 
Rory  Dall,  149,  184. 

Rosary,  harp  represented  in  the  Irish,  112. 
Ross,  Thomas,  Esq.,  Preface  ix. 
Ryan-Lanegan,  Lieut-Colonel,  Preface  ix. 

Saurin,  Ven.  Archdeacon,  102. 

Scotland,  early  musical  instruments  in,  10,  12. 

Scott's  Lamentation  [Irish  Air),  124. 

Seybold,  a  famous  player  on  the  pedal  harp,  47. 

Skinner,  A.  B. ,  Esq.,  Preface  ix. 

Society  of  Antiquaries  of  Scotland,  the  Council  of 

the.  Preface  ix. 
Somerville,    Daniel,    drawings   of    the    Highland 

harps  made  by,  182. 
South  Kensington,  harp  at,  102,  HI. 
St.  Kevin,  the  Harp  of,  27  n. 
St.  Moedoc,  the  shrine  of,  86,  157. 


INDEX 


199 


St.   Moedoc,   representation  of  a  harp   upon  tbe 

shrine  of,  24. 
St.  Oran's  Chapel,  lona,  harp  upon  slab  at,  155. 
St.  Patrick's  Tooth,  shrine  of,  24. 
Stanyhurst,   Kiehard,  testimony  on  harp-playing 

by,  20. 
Stewart  of  Dalguise,  John,  the  "  Queen  Mary  "and 

the  Lamont  Harp  deposited  id  National  Museum 

of  Antiquities  by,  158. 
Strickland,  W.  G.,  Esq.,  Preface  ix. 
Stuart,  G.  A.,  Esq.,  Preface  ix. 
Summir  is  coming,  The  (Irish  Air),  127. 

Tambour,  the,  10. 

Tara,  the  arrangement  of  guests  at  the  banquets 
at,  3. 


Tara,  triennial  meeting  at,  3. 

Terror  of  Death,  The  (Highland  Air),  189. 

Thomas,  T.  H.,  Esq.,  Preface  ix. 

Thumouth,  Burk,  184. 

"  Timpan,"  meaning  of,  3  n. 

Trinity  College  Harp,  the,  55. 

Wales,  early  musical  instruments,  in,  10,  12. 
Weddirspune,  James,  141. 
Wilde,  Sir  William,  82. 
Willow-wood,  early  harps  made  of,  2. 
Wren,  The  (Irish  Air),  130. 

Tellow  Blanket,  The  (Irish  Air),  128. 
Yellow-Haired  Laddie  (Hhjldand  Air),  188. 
Young  Man' a  Dream,  Tlie  (Irish  Air),  125. 


Printed  by  T.  and  A.  Constable,  Printers  to  His  Majesty 
at  the  Edinburgh  University  Press 


ERRATA 

P.  7,  14th  line, /or  (1581)  read  (1581)5. 

P.  52,  Note  5,  for  Cevil  read  Cecil. 

P.  83,  7  th  line,  for  unquestionably  read  quite  possibly. 

P.  86,  10th  line, /or  evidently  read  perhaps. 

P.  100,  8th  line  from  bottom,  /or  believed  read  supposed. 


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